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[ "New York Dolls", "Dissolution: 1975-77", "Why did the band dissolve?", "Thunders and Nolan left after an argument with Johansen. Blackie Lawless replaced Thunders for the remainder of the tour after which the band broke up", "What was the argument about?", "I don't know.", "When did Thunders leave?", "In March and April McClaren took the band on a tour of South Carolina and Florida.", "How long did the tour last?", "March and April", "Did the band continue after the tour?", "The band reformed in July for an August tour of Japan with Jeff Beck and Felix Pappalardi. Johansen," ]	C_3bc51535ed1f422e8c4fb50b887db0ed_0	How long was the tour in Japan?	6	How long was the New York Dolls tour in Japan?	New York Dolls	By 1975 the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan and Kane as well as artistic differences added to the tensions among members. In late February or early March Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a 5-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play. In March and April McClaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument with Johansen. Blackie Lawless replaced Thunders for the remainder of the tour after which the band broke up The band reformed in July for an August tour of Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986. After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine . The group played its last show December 30, 1976 , CANNOTANSWER	August tour of Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine.	The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976. According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded. History Formation Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them. Billy Murcia's death While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21. Record deal: 1972–1975 Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager. New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones. For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band. Dissolution: 1975–1976 By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play. In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up. The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986. After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie. Individual endeavors: 1975–2004 Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB. A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions. Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York. Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians. In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984. During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter. The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others. He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs. During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,. Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004. In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music. In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix. On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records. The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi. On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011. On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner. In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know." Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band. Musical style According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship." When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation. By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band." Band members Former members David Johansen – vocals, harmonica (1971–1976, 2004–2011) Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021) Arthur Kane – bass guitar (1971–1975, 2004; died 2004) Johnny Thunders - guitar, vocals (1971-1975; died 1991) Billy Murcia – drums (1971–1972; died 1972) Rick Rivets – guitar (1971; died 2019) Jerry Nolan – drums (1972–1975; died 1992) Peter Jordan – bass (1975–1976) Tony Machine – drums (1975–1976) Blackie Lawless – guitar (1975) Chris Robison – keyboards (1975) Bobby Blaine – keyboards (1976) Steve Conte – guitar, vocals (2004–2010) John Conte – bass (2004) Gary Powell – drums (2004) Brian Delaney– drums (2005–2011) Sami Yaffa – bass (2005–2010) Brian Koonin – keyboards (2005–2006) Aaron Lee Tasjan - guitar (2008-2009) Frank Infante – guitar (2010–2011) Jason Hill – bass (2010–2011) Jason Sutter – drums (2011) Kenny Aaronson – bass (2011) Earl Slick – guitar (2011) Claton Pitcher – guitar (2011) Timeline Discography Studio albums Chart placings shown are from the Billboard 200 US Albums chart. New York Dolls (1973 US:#116) Too Much Too Soon (1974 US:#167) in UK:#165 One Day It Will Please Us to Remember Even This (2006 US:#129) Cause I Sez So (2009 US:#159) Dancing Backward in High Heels (2011) Demo albums Lipstick Killers – The Mercer Street Sessions 1972 (1981) Seven Day Weekend (1992) Actress – "Birth of the New York Dolls" (2000) Endless Party (2000) Private World - The Complete Early Studio Demos 1972–1973 (2006) Live albums Red Patent Leather (1984) Paris Le Trash (1993) Live In Concert, Paris 1974 (1998) The Glamorous Life Live (1999) From Paris with Love (L.U.V.) (2002) Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004) Live At the Filmore East (2008) Viva Le Trash '74 (2009) French Kiss '74 (2013) Compilation albums New York Dolls / Too Much Too Soon (1977) Very Best of New York Dolls (1977) Night of the Living Dolls (1985) The Best of the New York Dolls (1985) Super Best Collection (1990) Rock'n Roll (1994) Hootchie Kootchie Dolls (1998) The Glam Rock Hits (1999) Actress: Birth of The New York Dolls (2000) Endless Party (2000) New York Tapes 72/73 (2000) Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002) Looking For A Kiss (2003) Manhattan Mayhem (2003) 20th Century Masters – the Millennium collection: the best of New York Dolls (2003) Singles "Personality Crisis" / "Looking for a Kiss" (1973) "Trash" / "Personality Crisis" (1973) "Jet Boy" / "Vietnamese Baby" (1973) "Stranded in the Jungle" / "Don't Start Me Talkin'" (1974) "(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974) "Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK) "Bad Girl" / "Subway Train" (1978, Germany) "Gimme Luv and Turn On the Light" (2006) "Fool for You Baby" (2011) "Dolled UP" (2014) References External links "Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012 1971 establishments in New York City 2011 disestablishments in New York (state) Hard rock musical groups from New York (state) American glam rock musical groups Protopunk groups Punk rock groups from New York (state) Musical groups from New York City Mercury Records artists Musical groups established in 1971 Musical groups disestablished in 1976 Musical groups reestablished in 2004 Musical groups disestablished in 2011 Atco Records artists	false	[ "The year 2011 is the 19th year in the history of Pancrase, a mixed martial arts promotion based in Japan. In 2011 Pancrase held 15 events beginning with Pancrase: Gate 7th Chance.\n\nTitle fights\n\nEvents list\n\nPancrase: Gate 7th Chance\n\nPancrase: Gate 7th Chance was an event held on January 30, 2011, at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 1\n\nPancrase: Impressive Tour 1 was an event held on February 6, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 2\n\nPancrase: Impressive Tour 2 was an event held on March 13, 2011, at The Azalea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nPancrase: Impressive Tour 3\n\nPancrase: Impressive Tour 3 was an event held on April 3, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 4\n\nPancrase: Impressive Tour 4 was an event held on May 3, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 5\n\nPancrase: Impressive Tour 5 was an event held on June 5, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Gate 8th Chance\n\nPancrase: Gate 8th Chance was an event held on July 10, 2011, at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 6\n\nPancrase: Impressive Tour 6 was an event held on July 23, 2011, at The Shinjuku Face in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 7\n\nPancrase: Impressive Tour 7 was an event held on July 31, 2011, at The Azalea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nPancrase: Impressive Tour 8\n\nPancrase: Impressive Tour 8 was an event held on August 7, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 9\n\nPancrase: Impressive Tour 9 was an event held on September 4, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 10\n\nPancrase: Impressive Tour 10 was an event held on October 2, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 11\n\nPancrase: Impressive Tour 11 was an event held on November 12, 2011, at Shinjuku Face in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 12\n\nPancrase: Impressive Tour 12 was an event held on November 27, 2011, at Azalea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nPancrase: Impressive Tour 13\n\nPancrase: Impressive Tour 13 was an event held on December 3, 2011, at Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nSee also \n List of Pancrase champions\n List of Pancrase events\n\nReferences\n\nPancrase events\n2011 in mixed martial arts", "The year 2010 is the 18th year in the history of Pancrase, a mixed martial arts promotion based in Japan. In 2010 Pancrase held 16 events beginning with Pancrase: Gate 4th Chance.\n\nTitle fights\n\nEvents list\n\nPancrase: Gate 4th Chance\n\nPancrase: Gate 4th Chance was an event held on January 10, 2010 at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 1\n\nPancrase: Passion Tour 1 was an event held on February 7, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 2\n\nPancrase: Passion Tour 2 was an event held on March 22, 2010 at The Azelea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nPancrase: Passion Tour 3\n\nPancrase: Passion Tour 3 was an event held on April 4, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 4\n\nPancrase: Passion Tour 4 was an event held on April 29, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Gate 5th Chance\n\nPancrase: Gate 5th Chance was an event held on May 16, 2010 at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 5\n\nPancrase: Passion Tour 5 was an event held on June 5, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 6\n\nPancrase: Passion Tour 6 was an event held on July 4, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 7\n\nPancrase: Passion Tour 7 was an event held on August 8, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 8\n\nPancrase: Passion Tour 8 was an event held on September 5, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: 2010 Pro-Am Open Catch Wrestling Tournament\n\nPancrase: 2010 Pro-Am Open Catch Wrestling Tournament was an event held on September 19, 2010 at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Gate 6th Chance\n\nPancrase: Gate 6th Chance was an event held on September 19, 2010 at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 9\n\nPancrase: Passion Tour 9 was an event held on October 3, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 10\n\nPancrase: Passion Tour 10 was an event held on November 3, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 11\n\nPancrase: Passion Tour 11 was an event held on December 5, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 12\n\nPancrase: Passion Tour 12 was an event held on December 19, 2010 at Azelea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nSee also \n Pancrase\n List of Pancrase champions\n List of Pancrase events\n\nReferences\n\nPancrase events\n2010 in mixed martial arts" ]
[ "New York Dolls", "Dissolution: 1975-77", "Why did the band dissolve?", "Thunders and Nolan left after an argument with Johansen. Blackie Lawless replaced Thunders for the remainder of the tour after which the band broke up", "What was the argument about?", "I don't know.", "When did Thunders leave?", "In March and April McClaren took the band on a tour of South Carolina and Florida.", "How long did the tour last?", "March and April", "Did the band continue after the tour?", "The band reformed in July for an August tour of Japan with Jeff Beck and Felix Pappalardi. Johansen,", "How long was the tour in Japan?", "August tour of Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine." ]	C_3bc51535ed1f422e8c4fb50b887db0ed_0	When did the band break up for good?	7	When did the band the New York Dolls break up for good?	New York Dolls	By 1975 the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan and Kane as well as artistic differences added to the tensions among members. In late February or early March Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a 5-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play. In March and April McClaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument with Johansen. Blackie Lawless replaced Thunders for the remainder of the tour after which the band broke up The band reformed in July for an August tour of Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986. After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine . The group played its last show December 30, 1976 , CANNOTANSWER	The group played its last show December 30, 1976 ,	The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976. According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded. History Formation Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them. Billy Murcia's death While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21. Record deal: 1972–1975 Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager. New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones. For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band. Dissolution: 1975–1976 By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play. In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up. The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986. After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie. Individual endeavors: 1975–2004 Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB. A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions. Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York. Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians. In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984. During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter. The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others. He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs. During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,. Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004. In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music. In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix. On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records. The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi. On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011. On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner. In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know." Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band. Musical style According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship." When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation. By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band." Band members Former members David Johansen – vocals, harmonica (1971–1976, 2004–2011) Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021) Arthur Kane – bass guitar (1971–1975, 2004; died 2004) Johnny Thunders - guitar, vocals (1971-1975; died 1991) Billy Murcia – drums (1971–1972; died 1972) Rick Rivets – guitar (1971; died 2019) Jerry Nolan – drums (1972–1975; died 1992) Peter Jordan – bass (1975–1976) Tony Machine – drums (1975–1976) Blackie Lawless – guitar (1975) Chris Robison – keyboards (1975) Bobby Blaine – keyboards (1976) Steve Conte – guitar, vocals (2004–2010) John Conte – bass (2004) Gary Powell – drums (2004) Brian Delaney– drums (2005–2011) Sami Yaffa – bass (2005–2010) Brian Koonin – keyboards (2005–2006) Aaron Lee Tasjan - guitar (2008-2009) Frank Infante – guitar (2010–2011) Jason Hill – bass (2010–2011) Jason Sutter – drums (2011) Kenny Aaronson – bass (2011) Earl Slick – guitar (2011) Claton Pitcher – guitar (2011) Timeline Discography Studio albums Chart placings shown are from the Billboard 200 US Albums chart. New York Dolls (1973 US:#116) Too Much Too Soon (1974 US:#167) in UK:#165 One Day It Will Please Us to Remember Even This (2006 US:#129) Cause I Sez So (2009 US:#159) Dancing Backward in High Heels (2011) Demo albums Lipstick Killers – The Mercer Street Sessions 1972 (1981) Seven Day Weekend (1992) Actress – "Birth of the New York Dolls" (2000) Endless Party (2000) Private World - The Complete Early Studio Demos 1972–1973 (2006) Live albums Red Patent Leather (1984) Paris Le Trash (1993) Live In Concert, Paris 1974 (1998) The Glamorous Life Live (1999) From Paris with Love (L.U.V.) (2002) Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004) Live At the Filmore East (2008) Viva Le Trash '74 (2009) French Kiss '74 (2013) Compilation albums New York Dolls / Too Much Too Soon (1977) Very Best of New York Dolls (1977) Night of the Living Dolls (1985) The Best of the New York Dolls (1985) Super Best Collection (1990) Rock'n Roll (1994) Hootchie Kootchie Dolls (1998) The Glam Rock Hits (1999) Actress: Birth of The New York Dolls (2000) Endless Party (2000) New York Tapes 72/73 (2000) Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002) Looking For A Kiss (2003) Manhattan Mayhem (2003) 20th Century Masters – the Millennium collection: the best of New York Dolls (2003) Singles "Personality Crisis" / "Looking for a Kiss" (1973) "Trash" / "Personality Crisis" (1973) "Jet Boy" / "Vietnamese Baby" (1973) "Stranded in the Jungle" / "Don't Start Me Talkin'" (1974) "(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974) "Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK) "Bad Girl" / "Subway Train" (1978, Germany) "Gimme Luv and Turn On the Light" (2006) "Fool for You Baby" (2011) "Dolled UP" (2014) References External links "Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012 1971 establishments in New York City 2011 disestablishments in New York (state) Hard rock musical groups from New York (state) American glam rock musical groups Protopunk groups Punk rock groups from New York (state) Musical groups from New York City Mercury Records artists Musical groups established in 1971 Musical groups disestablished in 1976 Musical groups reestablished in 2004 Musical groups disestablished in 2011 Atco Records artists	false	[ "The Good News is the second studio album by All Things New. BEC Recordings released the album on September 25, 2015.\n\nCritical reception\n\nAwarding the album three stars from CCM Magazine, Matt Conner states, \"It's easy to hear a band back in touch with their reasons for singing in the first place, when presented with straightforward truths couched in sing-along melodies.\" Jonathan J. Francesco, giving the album three and a half stars at New Release Today, writes, \"All Things New is a talented group and has created an enjoyable, accessible record that is truly fun and uplifting. It might not break new musical or lyrical ground, but it satisfies...All in all The Good News is a success\". Rating the album two and a half stars for Jesus Freak Hideout, Emmalee Manes says, \"The Good News seems to lose the interesting flavor the band displayed in their debut album.\" Chris Major, indicating in a four and a half star review by The Christian Beat, describes, \"All Things New conveys those truths powerfully and confidently, holding nothing back while still leaving room for God’s Word to resonate.\" Signaling in a four star review by 365 Days of Inspiring Media, Joshua Andre responds, \"The Good News...makes us admire the band for who they are, a worship band eager to share the love of God with everyone they meet!\"\n\nTrack listing\n\nReferences\n\n2015 albums\nAll Things New (band) albums\nBEC Recordings albums", "Remains is a compilation album from Alkaline Trio.\n\nContents\nThe album is a collection of 22 tracks that the band has recorded for various compilations, EPs, B-sides and international releases. The disc also includes three new live tracks from a 2006 concert at Avalon in Los Angeles. Vocalist/guitarist, Matt Skiba describes the collection as \"an unintentional sort of bookend for our career thus far.\" A DVD that includes 45 minutes of material, including all the band's videos from From Here to Infirmary, Good Mourning, and Crimson, accompanies the disc. Included is exclusive B-roll and behind-the-scenes footage from the band's live shows.\n\nRelease and reception\n\nOn November 6, 2006, Remains was announced for release. The band explained: \"...in the midst of the torrent of recording albums and touring to support them -- we will book into a studio and record some more... These truly are the remains of the last half-decade.\" On December 31, the band posted an e-card, which contained \"We Can Never Break Up\" and \"Hell Yes\" available for streaming. It was released on January 31, 2007, through Vagrant. On February 6, a music video was released for \"Warbrain\". The video includes live footage of the band from a New Year's Eve show. The album peaked at #64 on Billboard 200. By August 2008, the album sold 60,000 copies.\n\nTrack listing\n \"Hell Yes\" - 3:49\n \"My Standard Break from Life\" - 2:34\n \"Dead End Road\" - 3:08\n \"Metro\" - 3:41\n \"Jaked on Green Beers\" - 3:27\n \"Queen of Pain\" - 3:56\n \"While You're Waiting\" - 4:06\n \"Rooftops\" - 2:15\n \"Old School Reasons\" - 2:51\n \"Warbrain\" - 2:28\n \"Fine Without You\" - 3:15\n \"Hating Every Minute\" - 3:03\n \"Dead and Broken\" - 2:09\n \"Sadie\" - 4:38\n \"If You Had a Bad Time\" - 3:38\n \"Wait for the Blackout\" - 3:28\n \"We Can Never Break Up\" - 3:10\n \"Don't Say You Won't\" - 2:21\n \"Buried\" - 3:16\n \"Dethbed\" (Live) - 3:12\n \"My Standard Break from Life\" (Live Acoustic) - 2:42\n \"I'm Dying Tomorrow\" (Live) - 2:31\n\nOrigins of tracks\n\nTracks 1-2 are from the Hell Yes EP. Track 1 was also used as a b-side. Track 2 was also featured on the Plea for Peace compilation album. both were also available as UK bonus tracks on From Here to Infirmary, although track 2 is named \"Standard Break\".\nTrack 3 is from the compilation Living Tomorrow Today: A Benefit for Ty Cambra. It also appeared as a UK bonus track on Good Mourning.\nTrack 4 is a B-side of the \"Stupid Kid\" single and was featured on the Another Year on the Streets Vol. 2 compilation album. It is a cover of Berlin's \"The Metro.\"\nTrack 5 is from the compilation Atticus: ...dragging the lake.\nTracks 6-8 are from the Alkaline Trio/Hot Water Music Split CD. The song, \"Rooftops\" is a cover of the Hot Water Music song, which appeared on that band's No Division release.\nTrack 9 is a Good Mourning era track (also included as a bonus track on the UK version of the album) that originally appeared on the Thick Records compilation Oil: Chicago Punk Refined.\nTrack 10 is from the Rock Against Bush, Vol. 1 compilation album.\nTracks 11-16 are from the BYO Split Series, Vol. 5 EP with One Man Army. \"Wait for the Blackout\" originally performed by The Damned. \"Sadie\" was also included on Crimson.\nTracks 17-18 are B-sides from the \"Time to Waste\" single, produced by legendary punk producer Mass Giorgini.\nTrack 19 is a Crimson era B-side from the single \"Mercy Me\".\n\nScraps companion album\nOn Valentine's Day 2007, the band posted a bulletin on their MySpace giving a downloadable template and cipher.\nWhen printed and aligned correctly with the booklet in the Remains album, the template gave a user name and a password.\nWhen the cipher was deciphered, it gave a web address to go to.\nThis website contained a downloadable album and cover file.\nThe cipher and template accessible to Blood Pact members was different from those of the general public.\n\nMySpace Scraps Tracks\n \"Private Eye\" (Acoustic) - 3:38\n \"Crawl\" (Acoustic) - 4:23\n \"This Could Be Love\" (Acoustic) - 4:15\n \"Cringe\" (Live) - 2:24\n \"You've Got So Far to Go\" (Live) - 2:58\n \"Mr. Chainsaw\" (Live) - 3:37\n \"She Took Him to the Lake\" (Live) - 2:32\n \"Crawl\" (BBC) - 4:27\n \"Heaven\" (BBC) - 3:35\n \"Over at the Frankenstein Place\" - 2:32 Total - 34:18\nBlood Pact Scraps Tracks\n \"Fine Without You\" (Remix)\n \"Burn\" (Alleged Remix)\n \"Prevent This Tragedy\" (Live)\n \"Warbrain\" (Demo)\n\nReferences\n\nExternal links\n\nRemains at YouTube (streamed copy where licensed)\nScraps companion album\n\nAlkaline Trio albums\n2007 compilation albums\nVagrant Records compilation albums\nB-side compilation albums" ]
[ "Izzy Stradlin", "2003-2010: Independent solo career and second return to Guns N' Roses" ]	C_48e67b2c8b044ab3a792b9123682cc93_0	when did he go solo?	1	When did Izzy Stradlin go solo?	Izzy Stradlin	In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". CANNOTANSWER	In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria.	Jeffrey Dean Isbell (born April 8, 1962), best known as Izzy Stradlin, is an American guitarist, singer and songwriter. He was a co-founder and rhythm guitarist of the hard rock band Guns N' Roses, which he left at the height of their fame in 1991, and with whom he recorded four studio albums. Following his departure from Guns N' Roses, Stradlin fronted his own rock band Izzy Stradlin and the Ju Ju Hounds, before continuing to record as a solo artist. He was inducted into the Rock and Roll Hall of Fame as a member of Guns N' Roses in 2012. Life and career Early life Stradlin was born as Jeffrey Dean Isbell in Indiana. His father, Richard Clyde Isbell, was an engraver and his mother, Sonja LaVern Isbell, née Reagan, worked for a phone company. They divorced when he was eight and his mother moved with Stradlin and his two younger brothers, Kevin Thomas Isbell and Joseph “Joe” Isbell to Lafayette, Indiana. His father remarried in 1975 and had two daughters with his new wife. Of his hometown, Stradlin later said, "It was cool growing up there. There's a courthouse and a college, a river and railroad tracks. It's a small town, so there wasn't much to do. We rode bikes, smoked pot, got into trouble - it was pretty Beavis and Butt-Head actually." Stradlin developed an interest in music early in life; by the age of eight, his musical favorites included Bob Dylan, Pink Floyd, Alice Cooper, and Led Zeppelin. His biggest musical influence was his paternal grandmother, who played drums in a swing jazz band with her friends. Inspired, Stradlin talked his parents into buying him a drum kit. In high school, Stradlin started a band with his friends, one of whom was singer William Bailey, later known as Axl Rose. Stradlin recalled, "We were long-haired guys in high school. You were either a jock or a stoner. We weren't jocks, so we ended up hanging out together. We'd play covers in the garage. There were no clubs to play at, so we never made it out of the garage." Despite his aversion to school, Stradlin graduated in 1980 with a D average, the only original member of Guns N' Roses with a high school diploma. Set on a career in music, he subsequently moved to Los Angeles, California. 1980–1984: Career beginnings Shortly after his arrival in Los Angeles, Stradlin joined punk band Naughty Women. During his ill-fated first show with the band, audience members began attacking the musicians; Stradlin recalled, "I just grabbed a cymbal stand and stood on the side trying to fend them off, yelling, 'Get the fuck away from me, man!' That was my introduction to the rock scene in L.A." His two-month tenure in Naughty Women was followed by a stint in punk band The Atoms, before his drum kit was stolen from his car and he switched to bass. Stradlin then joined the heavy metal band Shire, during which he took up rhythm guitar to aid his songwriting. In 1983, Stradlin formed Hollywood Rose with his childhood friend Axl Rose, who had moved to Los Angeles the previous year. In January 1984, the band recorded a five-song demo featuring the tracks "Killing Time", "Anything Goes", "Rocker", "Shadow of Your Love", and "Reckless Life", which were released in 2004 as part of the compilation album The Roots of Guns N' Roses. The group disbanded in August, following which Stradlin briefly joined Sunset Strip staple London. He also formed the short-lived band Stalin with singer Eric Leach and guitarist Taz Rudd of Symbol Six. In December, he reunited with Hollywood Rose. 1985–1991: Guns N' Roses In March 1985, Stradlin founded Guns N' Roses with Axl Rose and members of L.A. Guns, Tracii Guns, Ole Beich and Rob Gardner, as a favor to L.A. Guns manager, Raz Cue, who had previously booked the act at the Troubadour. By June, the line-up consisted of Rose, guitarist Slash, rhythm guitarist Stradlin, bassist Duff McKagan, and drummer Steven Adler. They played nightclubs—such as the Whisky a Go Go, The Roxy, and The Troubadour—and opened for larger acts throughout 1985 and 1986. During this period, the band wrote much of its classic material, and Stradlin established himself as a key songwriter. In July 1987, Guns N' Roses released their debut album, Appetite for Destruction, which to date has sold over 28 million copies worldwide, including 18 million in the United States alone. Stradlin wrote or cowrote most of its songs, including the hits "Sweet Child o' Mine" and "Paradise City". He also wrote the hit "Patience" on the follow-up G N' R Lies, released in November 1988 to US sales of five million copies, despite containing only eight tracks, four of which were included on the previously released EP Live ?!*@ Like a Suicide. As their success grew, so did tensions within the band. In 1989, opening for The Rolling Stones, Rose threatened to leave the band if Stradlin, Slash, and Adler didn't stop "dancing with Mr. Brownstone," a reference to their song of the same name about heroin. After being sentenced to a year's probation for urinating in public aboard an airplane (after which the band nicknamed him "Whizzy"), Stradlin decided to attain sobriety; he returned to his house in Indiana, where he detoxed from drugs and alcohol. In September 1991, Guns N' Roses released the long-awaited Use Your Illusion I and Use Your Illusion II, which debuted at No. 2 and No. 1 respectively in the US chart – an unprecedented feat. Stradlin cowrote the hits "Don't Cry" and "You Could Be Mine", and performed lead vocals on "Dust N' Bones", "You Ain't the First", "Double Talkin' Jive", and "14 Years". As with their previous records, his preferred guitar during recording was a Gibson ES-175. By the release of the Use Your Illusion albums, Stradlin had become dissatisfied with life in Guns N' Roses: "Once I quit drugs, I couldn't help looking around and asking myself, 'Is this all there is?' I was just tired of it; I needed to get out." On November 7, 1991, it was announced that he had left Guns N' Roses, having played his final show as an official member on August 31 at Wembley Stadium. Stradlin later said, "I didn't like the complications that became such a part of daily life in Guns N' Roses," citing the Riverport riot and Axl Rose's chronic lateness and diva behavior on the Use Your Illusion Tour as examples. He also objected to a contract with which he was presented: "This is right before I left – demoting me to some lower position. They were gonna cut my percentage of royalties down. I was like, 'Fuck you! I've been there from Day One. Why should I do that? Fuck you, I'll go play the Whisky.' That's what happened. It was utterly insane." Stradlin added that getting sober played a part in his decision to leave, saying, "When you're fucked up, you're more likely to put up with things you wouldn't normally put up with." Some of Stradlin's guitar playing recorded during the Illusion sessions appears on Guns N' Roses's 1993 covers album "The Spaghetti Incident?", although he was uncredited on the project. 1992–1994: Ju Ju Hounds and first return to Guns N' Roses Following his departure from Guns N' Roses, Stradlin returned to his hometown of Lafayette, Indiana, where he began working on new material. He formed the band Izzy Stradlin and the Ju Ju Hounds, which consisted of Stradlin on vocals and rhythm guitar, Rick Richards of Georgia Satellites on lead guitar, Jimmy Ashhurst of Broken Homes on bass, and Charlie Quintana on drums. Their self-titled debut album was released in October 1992 to positive reviews; Rolling Stone called it "a ragged, blues-drenched, and thoroughly winning solo debut." Ju Ju Hounds played its first show in September at The Avalon in Chicago, before embarking on a tour of Europe, Australia, and North America. In May 1993, Stradlin reunited with Guns N' Roses for five shows in Europe and the Middle East to fill in for his replacement, Gilby Clarke, who had broken his wrist in a motorcycle accident. After Stradlin returned to the Ju Ju Hounds, Axl Rose dedicated the Stradlin-penned "Double Talkin' Jive" to him during several shows. In September, the Ju Ju Hounds undertook a tour of Japan, where the band played its final show at the Shibuya Public Hall in Tokyo. Stradlin then took time off from music, during which he traveled extensively and dedicated much of his time to his other passion - motor racing, even building a track close to his Indiana home. 1995–2002: Solo career and Velvet Revolver In 1995, Stradlin began recording material for his first solo album, 117°. Released in March 1998, the album was recorded in fits and starts over a period of two years and featured his former bandmates Duff McKagan and Rick Richards, as well as former Reverend Horton Heat drummer Taz Bentley, whose work Stradlin admired. As before, Stradlin had little interest in promoting his music; he did few interviews and played no live performances. The album turned out to be his last release on his long-time label Geffen; as a result of the merge between Geffen and Interscope, Stradlin was dropped from the label's roster. In December 1999, Stradlin's next solo album, Ride On, was released on the Universal Victor label in Japan. It featured the same line-up as his previous release. To promote the album, Stradlin - with McKagan, Richards, and Bentley— played four shows in Japan the following April. With the addition of keyboardist Ian McLagan, the group recorded two more albums: River, which was released in May 2001 on Sanctuary, and a second Japan-only release, On Down the Road, which followed in August 2002 on JVC Victor. Stradlin was then asked by his former Guns N' Roses bandmates Duff McKagan, Slash, and Matt Sorum to join the supergroup Velvet Revolver. Although he contributed to the songwriting process while the band was in its formative stage, Stradlin ultimately declined to join due to his aversion to life on the road and his unwillingness to work with a lead singer, although he offered to share vocal duties with McKagan. 2003–2010: Independent solo career and second return to Guns N' Roses In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin — prompted by a fan petition—made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". 2011–present: Hall of Fame induction and third return to Guns N' Roses In April 2012, Stradlin was inducted into the Rock and Roll Hall of Fame as a member of the classic lineup of Guns N' Roses. In a statement released through Duff McKagan's blog for Seattle Weekly, he thanked the Rock and Roll Hall of Fame "for the acknowledgement of our works over the years," his former bandmates, and his fans for their continuing support. Known to avoid public attention, Stradlin did not attend the induction ceremony. In the month following the induction, Stradlin joined Guns N' Roses on stage during two shows at London's O2 Arena, where they performed a range of songs including "14 Years," which had not been performed live since his departure in 1991. He also performed with Guns N' Roses in July, at a private show in Saint-Tropez and a concert in Palma de Mallorca, and again in November, during the last two shows of the band's twelve-date "Appetite for Democracy" residency in Las Vegas. Also in November, Stradlin released the iTunes-only single "Baby-Rann"—his first release in over two years; an accompanying video was made available via YouTube. Amidst rumors and speculation, Stradlin joined Twitter, and confirmed in a statement to Rolling Stone that he will not be involved with the 'reunited' Guns N' Roses lineup in 2016. He later stated that he declined because the band "didn't want to split the loot equally". In 2018, Alan Niven reported that Stradlin participated in a soundcheck with Guns N' Roses sometime in 2017, but ultimately left before guesting on the show. Stradlin also reportedly declined special guest appearances similar to the ones Adler had. Stradlin released numerous singles in 2016, previewing samples of the songs via his Twitter account and through the YouTube channel 'classicrockstuffs'. "Sunshine" by Jonathon Edwards and "Stuck in the Middle with You" by Stealers Wheel were acoustic videos made available through YouTube, whilst "Walk N' Song", "F.P. Money" (featuring former Guns N' Roses drummer Matt Sorum), "To Being Alive" and a cover version of the J.J. Cale song "Call Me the Breeze "featuring Jesse Aycock and Lauren Barth, were released to online music stores. In 2017, Stradlin played guitar on the song "Grandview" by John Mellencamp, on his album Sad Clowns & Hillbillies. Martina McBride was also featured on the song. Personal life On 29 May 1995 in Indiana, Stradlin married then 31 year old Swedish biologist and environmentalist Annica Kreuter. The couple divorced in California in May 2001. Izzy's grandfather's half-brother, Joseph William “Little Joe” Isbell, born in Bloomington Indiana, 1916 and died in 2008 was also a recording and touring artist, described as a "country yodeler". In 2016, Stradlin still lived in California, in the Ojai Valley Equipment Guitars: ESP Eclipse Custom Gibson ES-175 Gibson Byrdland Gibson ES-135 Gibson Les Paul Custom Fender Telecaster Gibson ES-355 Gibson Les Paul Special Double Cutaway Amps: Mesa Boogie Mark Series Mark I and Mark IIB Coliseum Fender Bassman heads with a Mesa Boogie 4x12 cabinet Marshall JCM-800 Discography Studio albums 117° (1998) Ride On (1999) River (2001) On Down the Road (2002) Like a Dog (2005) Miami (2007) Fire, the Acoustic Album (2007) Concrete (2008) Smoke (2009) Wave of Heat (2010) with Guns N' Roses Appetite for Destruction (1987) G N' R Lies (1988) Use Your Illusion I (1991) Use Your Illusion II (1991) "The Spaghetti Incident?" (1993) (uncredited) with The Ju Ju Hounds Pressure Drop EP (1992) Izzy Stradlin and the Ju Ju Hounds (1992) Izzy Stradlin and the Ju Ju Hounds Live EP (1993) References External links 1962 births 20th-century American guitarists 20th-century American singers 21st-century American singers American heavy metal guitarists American male guitarists American multi-instrumentalists American rock songwriters American rock singers Guitarists from Indiana Guitarists from Los Angeles Guns N' Roses members Hollywood Rose members Living people People from Lafayette, Indiana Rhythm guitarists Singers from Indiana Singers from Los Angeles Songwriters from California Songwriters from Indiana	true	[ "\"Go Insane\" is the title track of Lindsey Buckingham's second solo album. Released as a single on July 3, 1984, it became Buckingham's second top 40 hit (after \"Trouble\", three years earlier). \"Go Insane\" is also Buckingham's most recent U.S. solo hit (peaking at #23 in the Billboard Hot 100 chart); on the other hand, it did not chart in the United Kingdom.\n\nLyrics\nWhen asked about the lyrics of \"Go Insane\", he explained:\n\nIn later years, Buckingham has stated that the song, \"Go Insane\", was actually written about his 7-year-old (at that time) post-break up relationship with former lover, Stevie Nicks.\n“We were disintegrating as couples, by virtue of that, we were suffering as people. So in order to get work done, I had to go through this elaborate exercise in denial – leaving whole areas of baggage on the other side of the room, compartmentalize feelings... no time to get closure, to work things out... working in a very highly charged and ambivalent environment. So the go insane thing – would just be whenever I let my guard down and got back to all the things I hadn’t dealt with, it was almost like going insane – like I always do. Took a long, long time, working in an artificial environment on a personal level. So many things not worked through for a long, long time.\" – Lindsey Buckingham \n\n“Stevie, at some point her persona onstage was latched onto and she was in a sense called away by a larger world and separated on her own from me.”- Lindsey Buckingham\n\nPersonnel\n Lindsey Buckingham – vocals, guitars, keyboards, percussion, Fairlight CMI, LinnDrum\n Bryant Simpson – bass guitar\n\nChart history\n\nOther versions\nAt concerts, notably on The Dance, he did an acoustic fingerstyle version of \"Go Insane\", which featured just him and a nylon-string guitar.\nDuring the 2008 Gift of Screws tour, as well as Fleetwood Mac's 2009 Unleashed tour, he played the original version of the song. He returned to performing the solo acoustic version on his 2011 Seeds We Sow tour.\n\nReferences\n\nExternal links\n Lyrics, Interpretation, and Tabs\n \n\n1984 singles\nSongs written by Lindsey Buckingham\nLindsey Buckingham songs\n1984 songs\nReprise Records singles\nWarner Music Group singles", "Paul Colman is a British-Australian pop-rock guitarist, vocalist, pianist, and composer. He has made a name for himself as a Christian musician independently, with his band the Paul Colman Trio, as a solo artist, and as part of the Newsboys. His songwriting abilities have been acknowledged with a Grammy nomination and Dove Awards.\n\nColman was born and brought up in London; his father is Australian and his mother is British. When he was seven years old, his father left his successful life of theatre and music for a life of ministry back in Australia. His father was a long-standing Associate Pastor at Melbourne's Crossway Baptist Church and a well known gospel singer. Colman thus began his musical career living in Melbourne, starting his first band when he was eleven years old. During the first part of his life Colman did not take music too seriously, and focused on his career as a high-school teacher of history, English, and religion.\n\nHe has made a name for himself as a Christian musician independently, with his band the Paul Colman Trio, as a solo artist, and with the Newsboys. His songwriting abilities have been acknowledged with a Grammy nomination and Dove Awards.\n\nCareer\nIn 1998, Colman began the Paul Colman Trio, or PC3, in Melbourne; it has been credited as being at the forefront of the Contemporary Christian music scene in Australia. The debut single, \"Fill My Cup\", ranked number three on TRAA, and attracted more than 1,000 people for each CD launch in Sydney, Melbourne, and Brisbane. Colman fans can be found around the globe due to his willingness to travel sharing his craft with listeners from Uganda to Holland to Perth and beyond.\n\nColman announced in early 2004 that he would return to his solo career. His debut solo album, Let It Go, gained much popularity in America and Australia. After a couple of years, he joined the Newsboys in 2005, replacing the main guitarist Bryan Olesen who went on to focus on his band Casting Pearls. The first Newsboys CD featuring Colman, titled GO, was released 31 October 2006.\n\t\nOn 5 January 2009 Colman announced that he was leaving the Newsboys to concentrate on his solo career. History, a collection of cover tunes and previous songs was released on 27 January 2009, along with two digital EPs containing new material and other cover songs of Christian artists. \n\nIn January 2011 Colman returned to the studio with Grant Norsworthy and Phil Gaudion of PC3 to work on a new Trio album. The album Return was released in April 2011 to coincide with a reunion tour of Australia. \n\nAs of Summer 2011, Colman continues to work on his solo album while also producing for new artists such as Lainey Wright, Glenridge and Epic Season.\n\nAs of late 2017, Colman is collaborating with German singer/guitarist Claas P. Jambor as part of a duo called The Mighty Misfits.\n\nDiscography\n\nSolo\n Life Is Where You Are EP (1997)\n The Band Thing (1997)\n One Voice, One Guitar (1998)\n Official Bootleg (2000)\n One Voice One Guitar Vol 2 (2005)\n Let It Go (2005)\n History (2009)\n If I Was Jesus EP (2009)\n From the Saltland to the River (2012)\n Recalculating EP #1 (2015)\n Recalculating EP #2 (2016)\n Recalculating EP #3 (2016)\n Recalculating (2016)\n Most Requested (2016)\n\nWith Paul Colman Trio\n Live in America (Official Bootleg), 1999\n Serious Fun, 1999\n Turn, 2000\n pc3 – Live Acoustic, 2001\n pc3 – Live Electric, 2001\n pc3 – Live (USA version), 2001\n New Map of the World, 2002\n One, 2003\n Return, 2011\n\nWith Newsboys\n GO, 2006\n GO Remixed, 2007\n The Greatest Hits, 2007\n Houston We Are GO, 2008\n\nReferences\n\nExternal links \n \n\n1967 births\nLiving people\nBritish people of Australian descent\nBritish performers of Christian music\nInpop Records artists\nNewsboys members\nPaul Colman Trio members\nPeter Furler Band members" ]
[ "Izzy Stradlin", "2003-2010: Independent solo career and second return to Guns N' Roses", "when did he go solo?", "In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria." ]	C_48e67b2c8b044ab3a792b9123682cc93_0	was it successful?	2	Was Izzy Stradlin's album successful?	Izzy Stradlin	In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". CANNOTANSWER	However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order.	Jeffrey Dean Isbell (born April 8, 1962), best known as Izzy Stradlin, is an American guitarist, singer and songwriter. He was a co-founder and rhythm guitarist of the hard rock band Guns N' Roses, which he left at the height of their fame in 1991, and with whom he recorded four studio albums. Following his departure from Guns N' Roses, Stradlin fronted his own rock band Izzy Stradlin and the Ju Ju Hounds, before continuing to record as a solo artist. He was inducted into the Rock and Roll Hall of Fame as a member of Guns N' Roses in 2012. Life and career Early life Stradlin was born as Jeffrey Dean Isbell in Indiana. His father, Richard Clyde Isbell, was an engraver and his mother, Sonja LaVern Isbell, née Reagan, worked for a phone company. They divorced when he was eight and his mother moved with Stradlin and his two younger brothers, Kevin Thomas Isbell and Joseph “Joe” Isbell to Lafayette, Indiana. His father remarried in 1975 and had two daughters with his new wife. Of his hometown, Stradlin later said, "It was cool growing up there. There's a courthouse and a college, a river and railroad tracks. It's a small town, so there wasn't much to do. We rode bikes, smoked pot, got into trouble - it was pretty Beavis and Butt-Head actually." Stradlin developed an interest in music early in life; by the age of eight, his musical favorites included Bob Dylan, Pink Floyd, Alice Cooper, and Led Zeppelin. His biggest musical influence was his paternal grandmother, who played drums in a swing jazz band with her friends. Inspired, Stradlin talked his parents into buying him a drum kit. In high school, Stradlin started a band with his friends, one of whom was singer William Bailey, later known as Axl Rose. Stradlin recalled, "We were long-haired guys in high school. You were either a jock or a stoner. We weren't jocks, so we ended up hanging out together. We'd play covers in the garage. There were no clubs to play at, so we never made it out of the garage." Despite his aversion to school, Stradlin graduated in 1980 with a D average, the only original member of Guns N' Roses with a high school diploma. Set on a career in music, he subsequently moved to Los Angeles, California. 1980–1984: Career beginnings Shortly after his arrival in Los Angeles, Stradlin joined punk band Naughty Women. During his ill-fated first show with the band, audience members began attacking the musicians; Stradlin recalled, "I just grabbed a cymbal stand and stood on the side trying to fend them off, yelling, 'Get the fuck away from me, man!' That was my introduction to the rock scene in L.A." His two-month tenure in Naughty Women was followed by a stint in punk band The Atoms, before his drum kit was stolen from his car and he switched to bass. Stradlin then joined the heavy metal band Shire, during which he took up rhythm guitar to aid his songwriting. In 1983, Stradlin formed Hollywood Rose with his childhood friend Axl Rose, who had moved to Los Angeles the previous year. In January 1984, the band recorded a five-song demo featuring the tracks "Killing Time", "Anything Goes", "Rocker", "Shadow of Your Love", and "Reckless Life", which were released in 2004 as part of the compilation album The Roots of Guns N' Roses. The group disbanded in August, following which Stradlin briefly joined Sunset Strip staple London. He also formed the short-lived band Stalin with singer Eric Leach and guitarist Taz Rudd of Symbol Six. In December, he reunited with Hollywood Rose. 1985–1991: Guns N' Roses In March 1985, Stradlin founded Guns N' Roses with Axl Rose and members of L.A. Guns, Tracii Guns, Ole Beich and Rob Gardner, as a favor to L.A. Guns manager, Raz Cue, who had previously booked the act at the Troubadour. By June, the line-up consisted of Rose, guitarist Slash, rhythm guitarist Stradlin, bassist Duff McKagan, and drummer Steven Adler. They played nightclubs—such as the Whisky a Go Go, The Roxy, and The Troubadour—and opened for larger acts throughout 1985 and 1986. During this period, the band wrote much of its classic material, and Stradlin established himself as a key songwriter. In July 1987, Guns N' Roses released their debut album, Appetite for Destruction, which to date has sold over 28 million copies worldwide, including 18 million in the United States alone. Stradlin wrote or cowrote most of its songs, including the hits "Sweet Child o' Mine" and "Paradise City". He also wrote the hit "Patience" on the follow-up G N' R Lies, released in November 1988 to US sales of five million copies, despite containing only eight tracks, four of which were included on the previously released EP Live ?!*@ Like a Suicide. As their success grew, so did tensions within the band. In 1989, opening for The Rolling Stones, Rose threatened to leave the band if Stradlin, Slash, and Adler didn't stop "dancing with Mr. Brownstone," a reference to their song of the same name about heroin. After being sentenced to a year's probation for urinating in public aboard an airplane (after which the band nicknamed him "Whizzy"), Stradlin decided to attain sobriety; he returned to his house in Indiana, where he detoxed from drugs and alcohol. In September 1991, Guns N' Roses released the long-awaited Use Your Illusion I and Use Your Illusion II, which debuted at No. 2 and No. 1 respectively in the US chart – an unprecedented feat. Stradlin cowrote the hits "Don't Cry" and "You Could Be Mine", and performed lead vocals on "Dust N' Bones", "You Ain't the First", "Double Talkin' Jive", and "14 Years". As with their previous records, his preferred guitar during recording was a Gibson ES-175. By the release of the Use Your Illusion albums, Stradlin had become dissatisfied with life in Guns N' Roses: "Once I quit drugs, I couldn't help looking around and asking myself, 'Is this all there is?' I was just tired of it; I needed to get out." On November 7, 1991, it was announced that he had left Guns N' Roses, having played his final show as an official member on August 31 at Wembley Stadium. Stradlin later said, "I didn't like the complications that became such a part of daily life in Guns N' Roses," citing the Riverport riot and Axl Rose's chronic lateness and diva behavior on the Use Your Illusion Tour as examples. He also objected to a contract with which he was presented: "This is right before I left – demoting me to some lower position. They were gonna cut my percentage of royalties down. I was like, 'Fuck you! I've been there from Day One. Why should I do that? Fuck you, I'll go play the Whisky.' That's what happened. It was utterly insane." Stradlin added that getting sober played a part in his decision to leave, saying, "When you're fucked up, you're more likely to put up with things you wouldn't normally put up with." Some of Stradlin's guitar playing recorded during the Illusion sessions appears on Guns N' Roses's 1993 covers album "The Spaghetti Incident?", although he was uncredited on the project. 1992–1994: Ju Ju Hounds and first return to Guns N' Roses Following his departure from Guns N' Roses, Stradlin returned to his hometown of Lafayette, Indiana, where he began working on new material. He formed the band Izzy Stradlin and the Ju Ju Hounds, which consisted of Stradlin on vocals and rhythm guitar, Rick Richards of Georgia Satellites on lead guitar, Jimmy Ashhurst of Broken Homes on bass, and Charlie Quintana on drums. Their self-titled debut album was released in October 1992 to positive reviews; Rolling Stone called it "a ragged, blues-drenched, and thoroughly winning solo debut." Ju Ju Hounds played its first show in September at The Avalon in Chicago, before embarking on a tour of Europe, Australia, and North America. In May 1993, Stradlin reunited with Guns N' Roses for five shows in Europe and the Middle East to fill in for his replacement, Gilby Clarke, who had broken his wrist in a motorcycle accident. After Stradlin returned to the Ju Ju Hounds, Axl Rose dedicated the Stradlin-penned "Double Talkin' Jive" to him during several shows. In September, the Ju Ju Hounds undertook a tour of Japan, where the band played its final show at the Shibuya Public Hall in Tokyo. Stradlin then took time off from music, during which he traveled extensively and dedicated much of his time to his other passion - motor racing, even building a track close to his Indiana home. 1995–2002: Solo career and Velvet Revolver In 1995, Stradlin began recording material for his first solo album, 117°. Released in March 1998, the album was recorded in fits and starts over a period of two years and featured his former bandmates Duff McKagan and Rick Richards, as well as former Reverend Horton Heat drummer Taz Bentley, whose work Stradlin admired. As before, Stradlin had little interest in promoting his music; he did few interviews and played no live performances. The album turned out to be his last release on his long-time label Geffen; as a result of the merge between Geffen and Interscope, Stradlin was dropped from the label's roster. In December 1999, Stradlin's next solo album, Ride On, was released on the Universal Victor label in Japan. It featured the same line-up as his previous release. To promote the album, Stradlin - with McKagan, Richards, and Bentley— played four shows in Japan the following April. With the addition of keyboardist Ian McLagan, the group recorded two more albums: River, which was released in May 2001 on Sanctuary, and a second Japan-only release, On Down the Road, which followed in August 2002 on JVC Victor. Stradlin was then asked by his former Guns N' Roses bandmates Duff McKagan, Slash, and Matt Sorum to join the supergroup Velvet Revolver. Although he contributed to the songwriting process while the band was in its formative stage, Stradlin ultimately declined to join due to his aversion to life on the road and his unwillingness to work with a lead singer, although he offered to share vocal duties with McKagan. 2003–2010: Independent solo career and second return to Guns N' Roses In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin — prompted by a fan petition—made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". 2011–present: Hall of Fame induction and third return to Guns N' Roses In April 2012, Stradlin was inducted into the Rock and Roll Hall of Fame as a member of the classic lineup of Guns N' Roses. In a statement released through Duff McKagan's blog for Seattle Weekly, he thanked the Rock and Roll Hall of Fame "for the acknowledgement of our works over the years," his former bandmates, and his fans for their continuing support. Known to avoid public attention, Stradlin did not attend the induction ceremony. In the month following the induction, Stradlin joined Guns N' Roses on stage during two shows at London's O2 Arena, where they performed a range of songs including "14 Years," which had not been performed live since his departure in 1991. He also performed with Guns N' Roses in July, at a private show in Saint-Tropez and a concert in Palma de Mallorca, and again in November, during the last two shows of the band's twelve-date "Appetite for Democracy" residency in Las Vegas. Also in November, Stradlin released the iTunes-only single "Baby-Rann"—his first release in over two years; an accompanying video was made available via YouTube. Amidst rumors and speculation, Stradlin joined Twitter, and confirmed in a statement to Rolling Stone that he will not be involved with the 'reunited' Guns N' Roses lineup in 2016. He later stated that he declined because the band "didn't want to split the loot equally". In 2018, Alan Niven reported that Stradlin participated in a soundcheck with Guns N' Roses sometime in 2017, but ultimately left before guesting on the show. Stradlin also reportedly declined special guest appearances similar to the ones Adler had. Stradlin released numerous singles in 2016, previewing samples of the songs via his Twitter account and through the YouTube channel 'classicrockstuffs'. "Sunshine" by Jonathon Edwards and "Stuck in the Middle with You" by Stealers Wheel were acoustic videos made available through YouTube, whilst "Walk N' Song", "F.P. Money" (featuring former Guns N' Roses drummer Matt Sorum), "To Being Alive" and a cover version of the J.J. Cale song "Call Me the Breeze "featuring Jesse Aycock and Lauren Barth, were released to online music stores. In 2017, Stradlin played guitar on the song "Grandview" by John Mellencamp, on his album Sad Clowns & Hillbillies. Martina McBride was also featured on the song. Personal life On 29 May 1995 in Indiana, Stradlin married then 31 year old Swedish biologist and environmentalist Annica Kreuter. The couple divorced in California in May 2001. Izzy's grandfather's half-brother, Joseph William “Little Joe” Isbell, born in Bloomington Indiana, 1916 and died in 2008 was also a recording and touring artist, described as a "country yodeler". In 2016, Stradlin still lived in California, in the Ojai Valley Equipment Guitars: ESP Eclipse Custom Gibson ES-175 Gibson Byrdland Gibson ES-135 Gibson Les Paul Custom Fender Telecaster Gibson ES-355 Gibson Les Paul Special Double Cutaway Amps: Mesa Boogie Mark Series Mark I and Mark IIB Coliseum Fender Bassman heads with a Mesa Boogie 4x12 cabinet Marshall JCM-800 Discography Studio albums 117° (1998) Ride On (1999) River (2001) On Down the Road (2002) Like a Dog (2005) Miami (2007) Fire, the Acoustic Album (2007) Concrete (2008) Smoke (2009) Wave of Heat (2010) with Guns N' Roses Appetite for Destruction (1987) G N' R Lies (1988) Use Your Illusion I (1991) Use Your Illusion II (1991) "The Spaghetti Incident?" (1993) (uncredited) with The Ju Ju Hounds Pressure Drop EP (1992) Izzy Stradlin and the Ju Ju Hounds (1992) Izzy Stradlin and the Ju Ju Hounds Live EP (1993) References External links 1962 births 20th-century American guitarists 20th-century American singers 21st-century American singers American heavy metal guitarists American male guitarists American multi-instrumentalists American rock songwriters American rock singers Guitarists from Indiana Guitarists from Los Angeles Guns N' Roses members Hollywood Rose members Living people People from Lafayette, Indiana Rhythm guitarists Singers from Indiana Singers from Los Angeles Songwriters from California Songwriters from Indiana	false	[ "Merry Legs (1911-1932) was a Tennessee Walking Horse mare who was given foundation registration for her influence as a broodmare. She was also a successful show horse.\n\nLife\nMerry Legs was foaled in April 1911. She was a bay with sabino markings. She was sired by the foundation stallion Black Allan F-1, out of the American Saddlebred mare Nell Dement, registration number F-3, and bred by the early breeder Albert Dement. She was a large mare at maturity, standing high and weighing . Merry Legs was a successful show horse; as a three-year-old, she won the stake class at the Tennessee State Fair. She was also successful as a broodmare, giving birth to 13 foals, among them the well-known Bud Allen, Last Chance, Major Allen, and Merry Boy. For her influence on the breed, she was given the foundation number F-4 when the TWHBEA was formed in 1935. She died in 1932.\n\nReferences\n\nIndividual Tennessee Walking Horses\n1911 animal births\n1932 animal deaths", "The UCI Road World Championships – Men's team time trial was a world championship for road bicycle racing in the discipline of team time trial (TTT). It is organized by the world governing body, the Union Cycliste Internationale (UCI).\n\nNational teams (1962–1994)\nA championship for national teams was introduced in 1962 and held until 1994. It was held annually, except that from 1972 onward, the TTT was not held in Olympic years. There were 4 riders per team on a route around 100 kilometres long. Italy is the most successful nation with seven victories.\n\nMedal winners\n\nMedals by nation\n\nMost successful riders\n\nUCI teams (2012–2018)\nThere was a long break until a championship for trade teams was introduced in 2012. There were 6 riders per team. The championship was held up to 2018.\n\nMedal winners\n\nMost successful teams\n\nMost successful riders\n\nReferences \n \n \n\n \nMen's Team Time Trial\nRecurring sporting events established in 1962\nUCI World Tour races\nMen's road bicycle races\nLists of UCI Road World Championships medalists\nRecurring sporting events disestablished in 2018" ]
[ "Izzy Stradlin", "2003-2010: Independent solo career and second return to Guns N' Roses", "when did he go solo?", "In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria.", "was it successful?", "However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order." ]	C_48e67b2c8b044ab3a792b9123682cc93_0	what did he do next?	3	What did Izzy Stradlin do next?	Izzy Stradlin	In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". CANNOTANSWER	The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes.	Jeffrey Dean Isbell (born April 8, 1962), best known as Izzy Stradlin, is an American guitarist, singer and songwriter. He was a co-founder and rhythm guitarist of the hard rock band Guns N' Roses, which he left at the height of their fame in 1991, and with whom he recorded four studio albums. Following his departure from Guns N' Roses, Stradlin fronted his own rock band Izzy Stradlin and the Ju Ju Hounds, before continuing to record as a solo artist. He was inducted into the Rock and Roll Hall of Fame as a member of Guns N' Roses in 2012. Life and career Early life Stradlin was born as Jeffrey Dean Isbell in Indiana. His father, Richard Clyde Isbell, was an engraver and his mother, Sonja LaVern Isbell, née Reagan, worked for a phone company. They divorced when he was eight and his mother moved with Stradlin and his two younger brothers, Kevin Thomas Isbell and Joseph “Joe” Isbell to Lafayette, Indiana. His father remarried in 1975 and had two daughters with his new wife. Of his hometown, Stradlin later said, "It was cool growing up there. There's a courthouse and a college, a river and railroad tracks. It's a small town, so there wasn't much to do. We rode bikes, smoked pot, got into trouble - it was pretty Beavis and Butt-Head actually." Stradlin developed an interest in music early in life; by the age of eight, his musical favorites included Bob Dylan, Pink Floyd, Alice Cooper, and Led Zeppelin. His biggest musical influence was his paternal grandmother, who played drums in a swing jazz band with her friends. Inspired, Stradlin talked his parents into buying him a drum kit. In high school, Stradlin started a band with his friends, one of whom was singer William Bailey, later known as Axl Rose. Stradlin recalled, "We were long-haired guys in high school. You were either a jock or a stoner. We weren't jocks, so we ended up hanging out together. We'd play covers in the garage. There were no clubs to play at, so we never made it out of the garage." Despite his aversion to school, Stradlin graduated in 1980 with a D average, the only original member of Guns N' Roses with a high school diploma. Set on a career in music, he subsequently moved to Los Angeles, California. 1980–1984: Career beginnings Shortly after his arrival in Los Angeles, Stradlin joined punk band Naughty Women. During his ill-fated first show with the band, audience members began attacking the musicians; Stradlin recalled, "I just grabbed a cymbal stand and stood on the side trying to fend them off, yelling, 'Get the fuck away from me, man!' That was my introduction to the rock scene in L.A." His two-month tenure in Naughty Women was followed by a stint in punk band The Atoms, before his drum kit was stolen from his car and he switched to bass. Stradlin then joined the heavy metal band Shire, during which he took up rhythm guitar to aid his songwriting. In 1983, Stradlin formed Hollywood Rose with his childhood friend Axl Rose, who had moved to Los Angeles the previous year. In January 1984, the band recorded a five-song demo featuring the tracks "Killing Time", "Anything Goes", "Rocker", "Shadow of Your Love", and "Reckless Life", which were released in 2004 as part of the compilation album The Roots of Guns N' Roses. The group disbanded in August, following which Stradlin briefly joined Sunset Strip staple London. He also formed the short-lived band Stalin with singer Eric Leach and guitarist Taz Rudd of Symbol Six. In December, he reunited with Hollywood Rose. 1985–1991: Guns N' Roses In March 1985, Stradlin founded Guns N' Roses with Axl Rose and members of L.A. Guns, Tracii Guns, Ole Beich and Rob Gardner, as a favor to L.A. Guns manager, Raz Cue, who had previously booked the act at the Troubadour. By June, the line-up consisted of Rose, guitarist Slash, rhythm guitarist Stradlin, bassist Duff McKagan, and drummer Steven Adler. They played nightclubs—such as the Whisky a Go Go, The Roxy, and The Troubadour—and opened for larger acts throughout 1985 and 1986. During this period, the band wrote much of its classic material, and Stradlin established himself as a key songwriter. In July 1987, Guns N' Roses released their debut album, Appetite for Destruction, which to date has sold over 28 million copies worldwide, including 18 million in the United States alone. Stradlin wrote or cowrote most of its songs, including the hits "Sweet Child o' Mine" and "Paradise City". He also wrote the hit "Patience" on the follow-up G N' R Lies, released in November 1988 to US sales of five million copies, despite containing only eight tracks, four of which were included on the previously released EP Live ?!*@ Like a Suicide. As their success grew, so did tensions within the band. In 1989, opening for The Rolling Stones, Rose threatened to leave the band if Stradlin, Slash, and Adler didn't stop "dancing with Mr. Brownstone," a reference to their song of the same name about heroin. After being sentenced to a year's probation for urinating in public aboard an airplane (after which the band nicknamed him "Whizzy"), Stradlin decided to attain sobriety; he returned to his house in Indiana, where he detoxed from drugs and alcohol. In September 1991, Guns N' Roses released the long-awaited Use Your Illusion I and Use Your Illusion II, which debuted at No. 2 and No. 1 respectively in the US chart – an unprecedented feat. Stradlin cowrote the hits "Don't Cry" and "You Could Be Mine", and performed lead vocals on "Dust N' Bones", "You Ain't the First", "Double Talkin' Jive", and "14 Years". As with their previous records, his preferred guitar during recording was a Gibson ES-175. By the release of the Use Your Illusion albums, Stradlin had become dissatisfied with life in Guns N' Roses: "Once I quit drugs, I couldn't help looking around and asking myself, 'Is this all there is?' I was just tired of it; I needed to get out." On November 7, 1991, it was announced that he had left Guns N' Roses, having played his final show as an official member on August 31 at Wembley Stadium. Stradlin later said, "I didn't like the complications that became such a part of daily life in Guns N' Roses," citing the Riverport riot and Axl Rose's chronic lateness and diva behavior on the Use Your Illusion Tour as examples. He also objected to a contract with which he was presented: "This is right before I left – demoting me to some lower position. They were gonna cut my percentage of royalties down. I was like, 'Fuck you! I've been there from Day One. Why should I do that? Fuck you, I'll go play the Whisky.' That's what happened. It was utterly insane." Stradlin added that getting sober played a part in his decision to leave, saying, "When you're fucked up, you're more likely to put up with things you wouldn't normally put up with." Some of Stradlin's guitar playing recorded during the Illusion sessions appears on Guns N' Roses's 1993 covers album "The Spaghetti Incident?", although he was uncredited on the project. 1992–1994: Ju Ju Hounds and first return to Guns N' Roses Following his departure from Guns N' Roses, Stradlin returned to his hometown of Lafayette, Indiana, where he began working on new material. He formed the band Izzy Stradlin and the Ju Ju Hounds, which consisted of Stradlin on vocals and rhythm guitar, Rick Richards of Georgia Satellites on lead guitar, Jimmy Ashhurst of Broken Homes on bass, and Charlie Quintana on drums. Their self-titled debut album was released in October 1992 to positive reviews; Rolling Stone called it "a ragged, blues-drenched, and thoroughly winning solo debut." Ju Ju Hounds played its first show in September at The Avalon in Chicago, before embarking on a tour of Europe, Australia, and North America. In May 1993, Stradlin reunited with Guns N' Roses for five shows in Europe and the Middle East to fill in for his replacement, Gilby Clarke, who had broken his wrist in a motorcycle accident. After Stradlin returned to the Ju Ju Hounds, Axl Rose dedicated the Stradlin-penned "Double Talkin' Jive" to him during several shows. In September, the Ju Ju Hounds undertook a tour of Japan, where the band played its final show at the Shibuya Public Hall in Tokyo. Stradlin then took time off from music, during which he traveled extensively and dedicated much of his time to his other passion - motor racing, even building a track close to his Indiana home. 1995–2002: Solo career and Velvet Revolver In 1995, Stradlin began recording material for his first solo album, 117°. Released in March 1998, the album was recorded in fits and starts over a period of two years and featured his former bandmates Duff McKagan and Rick Richards, as well as former Reverend Horton Heat drummer Taz Bentley, whose work Stradlin admired. As before, Stradlin had little interest in promoting his music; he did few interviews and played no live performances. The album turned out to be his last release on his long-time label Geffen; as a result of the merge between Geffen and Interscope, Stradlin was dropped from the label's roster. In December 1999, Stradlin's next solo album, Ride On, was released on the Universal Victor label in Japan. It featured the same line-up as his previous release. To promote the album, Stradlin - with McKagan, Richards, and Bentley— played four shows in Japan the following April. With the addition of keyboardist Ian McLagan, the group recorded two more albums: River, which was released in May 2001 on Sanctuary, and a second Japan-only release, On Down the Road, which followed in August 2002 on JVC Victor. Stradlin was then asked by his former Guns N' Roses bandmates Duff McKagan, Slash, and Matt Sorum to join the supergroup Velvet Revolver. Although he contributed to the songwriting process while the band was in its formative stage, Stradlin ultimately declined to join due to his aversion to life on the road and his unwillingness to work with a lead singer, although he offered to share vocal duties with McKagan. 2003–2010: Independent solo career and second return to Guns N' Roses In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin — prompted by a fan petition—made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". 2011–present: Hall of Fame induction and third return to Guns N' Roses In April 2012, Stradlin was inducted into the Rock and Roll Hall of Fame as a member of the classic lineup of Guns N' Roses. In a statement released through Duff McKagan's blog for Seattle Weekly, he thanked the Rock and Roll Hall of Fame "for the acknowledgement of our works over the years," his former bandmates, and his fans for their continuing support. Known to avoid public attention, Stradlin did not attend the induction ceremony. In the month following the induction, Stradlin joined Guns N' Roses on stage during two shows at London's O2 Arena, where they performed a range of songs including "14 Years," which had not been performed live since his departure in 1991. He also performed with Guns N' Roses in July, at a private show in Saint-Tropez and a concert in Palma de Mallorca, and again in November, during the last two shows of the band's twelve-date "Appetite for Democracy" residency in Las Vegas. Also in November, Stradlin released the iTunes-only single "Baby-Rann"—his first release in over two years; an accompanying video was made available via YouTube. Amidst rumors and speculation, Stradlin joined Twitter, and confirmed in a statement to Rolling Stone that he will not be involved with the 'reunited' Guns N' Roses lineup in 2016. He later stated that he declined because the band "didn't want to split the loot equally". In 2018, Alan Niven reported that Stradlin participated in a soundcheck with Guns N' Roses sometime in 2017, but ultimately left before guesting on the show. Stradlin also reportedly declined special guest appearances similar to the ones Adler had. Stradlin released numerous singles in 2016, previewing samples of the songs via his Twitter account and through the YouTube channel 'classicrockstuffs'. "Sunshine" by Jonathon Edwards and "Stuck in the Middle with You" by Stealers Wheel were acoustic videos made available through YouTube, whilst "Walk N' Song", "F.P. Money" (featuring former Guns N' Roses drummer Matt Sorum), "To Being Alive" and a cover version of the J.J. Cale song "Call Me the Breeze "featuring Jesse Aycock and Lauren Barth, were released to online music stores. In 2017, Stradlin played guitar on the song "Grandview" by John Mellencamp, on his album Sad Clowns & Hillbillies. Martina McBride was also featured on the song. Personal life On 29 May 1995 in Indiana, Stradlin married then 31 year old Swedish biologist and environmentalist Annica Kreuter. The couple divorced in California in May 2001. Izzy's grandfather's half-brother, Joseph William “Little Joe” Isbell, born in Bloomington Indiana, 1916 and died in 2008 was also a recording and touring artist, described as a "country yodeler". In 2016, Stradlin still lived in California, in the Ojai Valley Equipment Guitars: ESP Eclipse Custom Gibson ES-175 Gibson Byrdland Gibson ES-135 Gibson Les Paul Custom Fender Telecaster Gibson ES-355 Gibson Les Paul Special Double Cutaway Amps: Mesa Boogie Mark Series Mark I and Mark IIB Coliseum Fender Bassman heads with a Mesa Boogie 4x12 cabinet Marshall JCM-800 Discography Studio albums 117° (1998) Ride On (1999) River (2001) On Down the Road (2002) Like a Dog (2005) Miami (2007) Fire, the Acoustic Album (2007) Concrete (2008) Smoke (2009) Wave of Heat (2010) with Guns N' Roses Appetite for Destruction (1987) G N' R Lies (1988) Use Your Illusion I (1991) Use Your Illusion II (1991) "The Spaghetti Incident?" (1993) (uncredited) with The Ju Ju Hounds Pressure Drop EP (1992) Izzy Stradlin and the Ju Ju Hounds (1992) Izzy Stradlin and the Ju Ju Hounds Live EP (1993) References External links 1962 births 20th-century American guitarists 20th-century American singers 21st-century American singers American heavy metal guitarists American male guitarists American multi-instrumentalists American rock songwriters American rock singers Guitarists from Indiana Guitarists from Los Angeles Guns N' Roses members Hollywood Rose members Living people People from Lafayette, Indiana Rhythm guitarists Singers from Indiana Singers from Los Angeles Songwriters from California Songwriters from Indiana	true	[ "Do You Know What I'm Going To Do Next Saturday? is a 1963 children's book published by Beginner Books and written by Helen Palmer Geisel, the first wife of Theodor Seuss Geisel (Dr. Seuss). Unlike most of the Beginner Books, Do You Know What I'm Going To Do Next Saturday? did not follow the format of text with inline drawings, being illustrated with black-and-white photographs by Lynn Fayman, featuring a boy named Rawli Davis. It is sometimes misattributed to Dr. Seuss himself. The book's cover features a photograph of a young boy sitting at a breakfast table with a huge pile of pancakes.\n\nActivities mentioned in the book include bowling, water skiing, marching, boxing, and shooting guns with the United States Marines, and eating more spaghetti \"than anyone else has eaten before.\n\nHelen Palmer's photograph-based children's books did not prove to be as popular as the more traditional text-and-illustrations format; however, Do You Know What I'm Going To Do Next Saturday received positive reviews and was listed by The New York Times as one of the best children's books of 1963. The book is currently out of print.\n\nReferences\n\n1963 children's books\nAmerican picture books", "Daniel S. Burt is an American author and literary critic.\n\nCareer\n\nDaniel S. Burt, Ph.D. received his doctorate in English and American Literature with a specialization in Victorian fiction from New York University. He taught undergraduate- and graduate-level courses in writing and literature at New York University, Wesleyan University, Trinity College, Northeastern University, Wentworth Institute of Technology, and Cape Cod Community College. At Wentworth Institute of Technology, he served as a dean for almost a decade. During his time at New York University, he was director of the NYU in London program, wherein he traveled with students to Russia, Spain, Britain and Ireland. \n\nSince 2003, Burt has served as the Academic Director for the Irish Academic Enrichment Workshops, which are held in Ireland every summer.\n\nBibliography\n\nThe Literary 100: A Ranking Of The Most Influential Novelists, Playwrights, And Poets Of All Time. Checkmark Books. October 1, 1999.\nThe Biography Book: A Reader's Guide To Nonfiction, Fictional, And Film Biographies Of More Than 500 Of The Most Fascinating Individuals Of All Time. Oryx Press. February 1, 2001.\nThe Novel 100: A Ranking Of The Greatest Novels Of All Time. Checkmark Books. November 1, 2003.\nThe Chronology of American Literature: America's Literary Achievements from the Colonial Era to Modern Times. Houghton Mifflin Harcourt. February 10, 2004.\nThe Drama 100: A Ranking of the Greatest Plays of All Time. Checkmark Books. December 1, 2007.\nThe Handy Literature Answer Book: An Engaging Guide to Unraveling Symbols, Signs and Meanings in Great Works with Deborah G. Felder. Visible Ink Press. July 1, 2018.\n\nWhat Do I Read Next? Series \n\n What Historical Novel Do I Read Next? Gale Cengage.1997.\nWhat Do I Read Next? 2000, Volume 1 with Neil Barron. Gale Cengage. June 1, 2000.\nWhat Fantastic Fiction Do I Read Next? 2001, Volume 1 with Neil Barron and Tom Barton. Gale Cengage. June 1, 2001. \nWhat Do I Read Next? 2003, Volume 2 with Neil Barron and Tom Barton. Gale Cengage. October 17, 20013.\nWhat Do I Read Next? 2005, Volume 1 with Neil Barron and Tom Barton. Thomson Gale. May 27, 2005.\nWhat Do I Read Next? 2005, Volume 2 with Neil Barron. Gale. October 21, 2005. \nWhat Do I Read Next? 2006, Volume 1 with Neil Barron and Tom Barton. Thomson Gale. May 25, 2006.\n What Do I Read Next? 2007, Volume 1 with Natalie Danford and Don D'Ammassa. Gale Cengage. June 8, 2007.\nWhat Do I Read Next? 2007, Volume 2: A Reader's Guide to Current Genre Fiction with Don D'Ammassa, Natalie Danford, Stefan R. Dziemianowicz, Jim Huang, and Melissa Hudak. Gale Cengage. October 19, 2007. \nWhat Do I Read Next? 2008, Volume 1 with Natalie Danford and Don D'Ammassa. Gale. May 23, 2008. \n What Do I Read Next? 2009. Volume 1 with Michelle Kazensky, Marie Toft, and Hazel Rumney. Gale Cengage. June 12, 2009.\nWhat Do I Read Next? 2010, Volume 1 with Neil Barron. Gale. 2010.\n\nReferences\n\nExternal links \nBibliography on GoodReads\n\nYear of birth missing (living people)\nLiving people\nAmerican male non-fiction writers\nAmerican literary critics\nNew York University alumni\nWesleyan University faculty" ]
[ "Izzy Stradlin", "2003-2010: Independent solo career and second return to Guns N' Roses", "when did he go solo?", "In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria.", "was it successful?", "However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order.", "what did he do next?", "The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes." ]	C_48e67b2c8b044ab3a792b9123682cc93_0	when did he return to Guns N Roses?	4	When did Izzy Stradlin return to Guns N Roses?	Izzy Stradlin	In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". CANNOTANSWER	In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York;	Jeffrey Dean Isbell (born April 8, 1962), best known as Izzy Stradlin, is an American guitarist, singer and songwriter. He was a co-founder and rhythm guitarist of the hard rock band Guns N' Roses, which he left at the height of their fame in 1991, and with whom he recorded four studio albums. Following his departure from Guns N' Roses, Stradlin fronted his own rock band Izzy Stradlin and the Ju Ju Hounds, before continuing to record as a solo artist. He was inducted into the Rock and Roll Hall of Fame as a member of Guns N' Roses in 2012. Life and career Early life Stradlin was born as Jeffrey Dean Isbell in Indiana. His father, Richard Clyde Isbell, was an engraver and his mother, Sonja LaVern Isbell, née Reagan, worked for a phone company. They divorced when he was eight and his mother moved with Stradlin and his two younger brothers, Kevin Thomas Isbell and Joseph “Joe” Isbell to Lafayette, Indiana. His father remarried in 1975 and had two daughters with his new wife. Of his hometown, Stradlin later said, "It was cool growing up there. There's a courthouse and a college, a river and railroad tracks. It's a small town, so there wasn't much to do. We rode bikes, smoked pot, got into trouble - it was pretty Beavis and Butt-Head actually." Stradlin developed an interest in music early in life; by the age of eight, his musical favorites included Bob Dylan, Pink Floyd, Alice Cooper, and Led Zeppelin. His biggest musical influence was his paternal grandmother, who played drums in a swing jazz band with her friends. Inspired, Stradlin talked his parents into buying him a drum kit. In high school, Stradlin started a band with his friends, one of whom was singer William Bailey, later known as Axl Rose. Stradlin recalled, "We were long-haired guys in high school. You were either a jock or a stoner. We weren't jocks, so we ended up hanging out together. We'd play covers in the garage. There were no clubs to play at, so we never made it out of the garage." Despite his aversion to school, Stradlin graduated in 1980 with a D average, the only original member of Guns N' Roses with a high school diploma. Set on a career in music, he subsequently moved to Los Angeles, California. 1980–1984: Career beginnings Shortly after his arrival in Los Angeles, Stradlin joined punk band Naughty Women. During his ill-fated first show with the band, audience members began attacking the musicians; Stradlin recalled, "I just grabbed a cymbal stand and stood on the side trying to fend them off, yelling, 'Get the fuck away from me, man!' That was my introduction to the rock scene in L.A." His two-month tenure in Naughty Women was followed by a stint in punk band The Atoms, before his drum kit was stolen from his car and he switched to bass. Stradlin then joined the heavy metal band Shire, during which he took up rhythm guitar to aid his songwriting. In 1983, Stradlin formed Hollywood Rose with his childhood friend Axl Rose, who had moved to Los Angeles the previous year. In January 1984, the band recorded a five-song demo featuring the tracks "Killing Time", "Anything Goes", "Rocker", "Shadow of Your Love", and "Reckless Life", which were released in 2004 as part of the compilation album The Roots of Guns N' Roses. The group disbanded in August, following which Stradlin briefly joined Sunset Strip staple London. He also formed the short-lived band Stalin with singer Eric Leach and guitarist Taz Rudd of Symbol Six. In December, he reunited with Hollywood Rose. 1985–1991: Guns N' Roses In March 1985, Stradlin founded Guns N' Roses with Axl Rose and members of L.A. Guns, Tracii Guns, Ole Beich and Rob Gardner, as a favor to L.A. Guns manager, Raz Cue, who had previously booked the act at the Troubadour. By June, the line-up consisted of Rose, guitarist Slash, rhythm guitarist Stradlin, bassist Duff McKagan, and drummer Steven Adler. They played nightclubs—such as the Whisky a Go Go, The Roxy, and The Troubadour—and opened for larger acts throughout 1985 and 1986. During this period, the band wrote much of its classic material, and Stradlin established himself as a key songwriter. In July 1987, Guns N' Roses released their debut album, Appetite for Destruction, which to date has sold over 28 million copies worldwide, including 18 million in the United States alone. Stradlin wrote or cowrote most of its songs, including the hits "Sweet Child o' Mine" and "Paradise City". He also wrote the hit "Patience" on the follow-up G N' R Lies, released in November 1988 to US sales of five million copies, despite containing only eight tracks, four of which were included on the previously released EP Live ?!*@ Like a Suicide. As their success grew, so did tensions within the band. In 1989, opening for The Rolling Stones, Rose threatened to leave the band if Stradlin, Slash, and Adler didn't stop "dancing with Mr. Brownstone," a reference to their song of the same name about heroin. After being sentenced to a year's probation for urinating in public aboard an airplane (after which the band nicknamed him "Whizzy"), Stradlin decided to attain sobriety; he returned to his house in Indiana, where he detoxed from drugs and alcohol. In September 1991, Guns N' Roses released the long-awaited Use Your Illusion I and Use Your Illusion II, which debuted at No. 2 and No. 1 respectively in the US chart – an unprecedented feat. Stradlin cowrote the hits "Don't Cry" and "You Could Be Mine", and performed lead vocals on "Dust N' Bones", "You Ain't the First", "Double Talkin' Jive", and "14 Years". As with their previous records, his preferred guitar during recording was a Gibson ES-175. By the release of the Use Your Illusion albums, Stradlin had become dissatisfied with life in Guns N' Roses: "Once I quit drugs, I couldn't help looking around and asking myself, 'Is this all there is?' I was just tired of it; I needed to get out." On November 7, 1991, it was announced that he had left Guns N' Roses, having played his final show as an official member on August 31 at Wembley Stadium. Stradlin later said, "I didn't like the complications that became such a part of daily life in Guns N' Roses," citing the Riverport riot and Axl Rose's chronic lateness and diva behavior on the Use Your Illusion Tour as examples. He also objected to a contract with which he was presented: "This is right before I left – demoting me to some lower position. They were gonna cut my percentage of royalties down. I was like, 'Fuck you! I've been there from Day One. Why should I do that? Fuck you, I'll go play the Whisky.' That's what happened. It was utterly insane." Stradlin added that getting sober played a part in his decision to leave, saying, "When you're fucked up, you're more likely to put up with things you wouldn't normally put up with." Some of Stradlin's guitar playing recorded during the Illusion sessions appears on Guns N' Roses's 1993 covers album "The Spaghetti Incident?", although he was uncredited on the project. 1992–1994: Ju Ju Hounds and first return to Guns N' Roses Following his departure from Guns N' Roses, Stradlin returned to his hometown of Lafayette, Indiana, where he began working on new material. He formed the band Izzy Stradlin and the Ju Ju Hounds, which consisted of Stradlin on vocals and rhythm guitar, Rick Richards of Georgia Satellites on lead guitar, Jimmy Ashhurst of Broken Homes on bass, and Charlie Quintana on drums. Their self-titled debut album was released in October 1992 to positive reviews; Rolling Stone called it "a ragged, blues-drenched, and thoroughly winning solo debut." Ju Ju Hounds played its first show in September at The Avalon in Chicago, before embarking on a tour of Europe, Australia, and North America. In May 1993, Stradlin reunited with Guns N' Roses for five shows in Europe and the Middle East to fill in for his replacement, Gilby Clarke, who had broken his wrist in a motorcycle accident. After Stradlin returned to the Ju Ju Hounds, Axl Rose dedicated the Stradlin-penned "Double Talkin' Jive" to him during several shows. In September, the Ju Ju Hounds undertook a tour of Japan, where the band played its final show at the Shibuya Public Hall in Tokyo. Stradlin then took time off from music, during which he traveled extensively and dedicated much of his time to his other passion - motor racing, even building a track close to his Indiana home. 1995–2002: Solo career and Velvet Revolver In 1995, Stradlin began recording material for his first solo album, 117°. Released in March 1998, the album was recorded in fits and starts over a period of two years and featured his former bandmates Duff McKagan and Rick Richards, as well as former Reverend Horton Heat drummer Taz Bentley, whose work Stradlin admired. As before, Stradlin had little interest in promoting his music; he did few interviews and played no live performances. The album turned out to be his last release on his long-time label Geffen; as a result of the merge between Geffen and Interscope, Stradlin was dropped from the label's roster. In December 1999, Stradlin's next solo album, Ride On, was released on the Universal Victor label in Japan. It featured the same line-up as his previous release. To promote the album, Stradlin - with McKagan, Richards, and Bentley— played four shows in Japan the following April. With the addition of keyboardist Ian McLagan, the group recorded two more albums: River, which was released in May 2001 on Sanctuary, and a second Japan-only release, On Down the Road, which followed in August 2002 on JVC Victor. Stradlin was then asked by his former Guns N' Roses bandmates Duff McKagan, Slash, and Matt Sorum to join the supergroup Velvet Revolver. Although he contributed to the songwriting process while the band was in its formative stage, Stradlin ultimately declined to join due to his aversion to life on the road and his unwillingness to work with a lead singer, although he offered to share vocal duties with McKagan. 2003–2010: Independent solo career and second return to Guns N' Roses In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin — prompted by a fan petition—made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". 2011–present: Hall of Fame induction and third return to Guns N' Roses In April 2012, Stradlin was inducted into the Rock and Roll Hall of Fame as a member of the classic lineup of Guns N' Roses. In a statement released through Duff McKagan's blog for Seattle Weekly, he thanked the Rock and Roll Hall of Fame "for the acknowledgement of our works over the years," his former bandmates, and his fans for their continuing support. Known to avoid public attention, Stradlin did not attend the induction ceremony. In the month following the induction, Stradlin joined Guns N' Roses on stage during two shows at London's O2 Arena, where they performed a range of songs including "14 Years," which had not been performed live since his departure in 1991. He also performed with Guns N' Roses in July, at a private show in Saint-Tropez and a concert in Palma de Mallorca, and again in November, during the last two shows of the band's twelve-date "Appetite for Democracy" residency in Las Vegas. Also in November, Stradlin released the iTunes-only single "Baby-Rann"—his first release in over two years; an accompanying video was made available via YouTube. Amidst rumors and speculation, Stradlin joined Twitter, and confirmed in a statement to Rolling Stone that he will not be involved with the 'reunited' Guns N' Roses lineup in 2016. He later stated that he declined because the band "didn't want to split the loot equally". In 2018, Alan Niven reported that Stradlin participated in a soundcheck with Guns N' Roses sometime in 2017, but ultimately left before guesting on the show. Stradlin also reportedly declined special guest appearances similar to the ones Adler had. Stradlin released numerous singles in 2016, previewing samples of the songs via his Twitter account and through the YouTube channel 'classicrockstuffs'. "Sunshine" by Jonathon Edwards and "Stuck in the Middle with You" by Stealers Wheel were acoustic videos made available through YouTube, whilst "Walk N' Song", "F.P. Money" (featuring former Guns N' Roses drummer Matt Sorum), "To Being Alive" and a cover version of the J.J. Cale song "Call Me the Breeze "featuring Jesse Aycock and Lauren Barth, were released to online music stores. In 2017, Stradlin played guitar on the song "Grandview" by John Mellencamp, on his album Sad Clowns & Hillbillies. Martina McBride was also featured on the song. Personal life On 29 May 1995 in Indiana, Stradlin married then 31 year old Swedish biologist and environmentalist Annica Kreuter. The couple divorced in California in May 2001. Izzy's grandfather's half-brother, Joseph William “Little Joe” Isbell, born in Bloomington Indiana, 1916 and died in 2008 was also a recording and touring artist, described as a "country yodeler". In 2016, Stradlin still lived in California, in the Ojai Valley Equipment Guitars: ESP Eclipse Custom Gibson ES-175 Gibson Byrdland Gibson ES-135 Gibson Les Paul Custom Fender Telecaster Gibson ES-355 Gibson Les Paul Special Double Cutaway Amps: Mesa Boogie Mark Series Mark I and Mark IIB Coliseum Fender Bassman heads with a Mesa Boogie 4x12 cabinet Marshall JCM-800 Discography Studio albums 117° (1998) Ride On (1999) River (2001) On Down the Road (2002) Like a Dog (2005) Miami (2007) Fire, the Acoustic Album (2007) Concrete (2008) Smoke (2009) Wave of Heat (2010) with Guns N' Roses Appetite for Destruction (1987) G N' R Lies (1988) Use Your Illusion I (1991) Use Your Illusion II (1991) "The Spaghetti Incident?" (1993) (uncredited) with The Ju Ju Hounds Pressure Drop EP (1992) Izzy Stradlin and the Ju Ju Hounds (1992) Izzy Stradlin and the Ju Ju Hounds Live EP (1993) References External links 1962 births 20th-century American guitarists 20th-century American singers 21st-century American singers American heavy metal guitarists American male guitarists American multi-instrumentalists American rock songwriters American rock singers Guitarists from Indiana Guitarists from Los Angeles Guns N' Roses members Hollywood Rose members Living people People from Lafayette, Indiana Rhythm guitarists Singers from Indiana Singers from Los Angeles Songwriters from California Songwriters from Indiana	true	[ "Darren Arthur Reed (born June 18, 1963), better known by his stage name Dizzy Reed, is an American musician and occasional actor. He is best known as the keyboardist for the hard rock band Guns N' Roses, with whom he has played, toured, and recorded since 1990.\n\nAside from lead singer Axl Rose, Reed is the longest-standing member of Guns N' Roses, and was the only member of the band to remain from their Use Your Illusion era until the 2016 return of guitarist Slash and bass guitarist Duff McKagan. \n\nIn 2012, Reed was inducted into the Rock and Roll Hall of Fame as a member of Guns N' Roses, although he did not attend the ceremony. He was also a member of the Australian-American supergroup The Dead Daisies with his Guns N' Roses bandmate Richard Fortus, ex-Whitesnake member Marco Mendoza, ex-Mötley Crüe frontman John Corabi and session drummer Brian Tichy.\n\nEarly life\nReed was born as Darren Arthur Reed on June 18, 1963 in Hinsdale, Illinois, and was raised in Colorado. Reed was described as reclusive and introverted, however he has since denied this. His grandmother began teaching him to play the organ when he was a young child, and before he was out of elementary school, he formed small local bands.\n\nMusic career\n\nAs an adult, Reed pursued a music career in Los Angeles. He was a founding member of the club band The Wild in the late 1980s, with whom he spent five years.\n\nReed met the classic lineup of Guns N' Roses in 1985 while his band, The Wild, rehearsed in a neighboring studio. He kept in touch, and in 1990 was invited by friend Axl Rose to join the group for the recording of the two Use Your Illusion albums.\n\nReed soon became an accepted member of the group and appeared on every album from Use Your Illusion I onward. As a member of Guns N' Roses, Reed has become well known for his keyboard, piano, and backing vocal work on such songs as \"Estranged\", \"Live and Let Die\", \"November Rain\", \"Garden of Eden\", \"Civil War\", \"Yesterdays\", and \"Knockin' On Heaven's Door\". In addition to playing keyboards or piano, Reed frequently provides backup on percussion and vocals during live Guns N' Roses performances of older songs, such as \"Mr Brownstone\", \"Nightrain\", \"Welcome to the Jungle\" and \"Rocket Queen\".\n\nReed continues to record and play live with the current Guns N' Roses line-up, and has now been a member of Guns N' Roses longer than any other member besides Axl Rose. Although Reed did not co-write any songs during the Illusion sessions, for Chinese Democracy he co-wrote \"Chinese Democracy\", \"Catcher in the Rye\", \"Street of Dreams\", \"There Was a Time\", \"I.R.S\", and \"Oh My God\". It has also been confirmed that the unfinished demo that did not make the cut on Chinese Democracy called \"Silkworms\" was written by Reed himself and the band's other keyboardist Chris Pitman. The song was re-worked and released as a single under the title \"ABSUЯD\" in 2021.\n\nWork outside Guns N' Roses\n\nOutside of Guns N' Roses, Reed played on albums for his former bandmates Slash, Duff McKagan, and Gilby Clarke. He also guested on former Guns N' Roses bassist Tommy Stinson's 2004 solo effort Village Gorilla Head. Reed is additionally a fan of Larry Norman, a pioneer of Christian music, and played on Norman's Copper Wires album. Most recently, he has composed music for the film scores The Still Life, released in 2006, and Celebrity Art Show (2008). His debut solo album will be released on February 16, 2018.\n\nWhen he is not touring or recording with Guns N' Roses, Reed frequently tours with his hard rock cover band Hookers N' Blow, in which he plays keyboard and guitar and occasionally sings lead vocals. For his work with Hookers N' Blow, Reed was named Outstanding Keyboardist of the Year at the 2007 Rock City Awards (\"Rockies\"). Hookers N' Blow was also named Best Cover Band.\n\nReed has also dabbled in acting, appearing as 'Mumbles' in the 2005 film Charlie's Death Wish.\n\nReed was a member of The Dead Daisies alongside Guns N' Roses guitarist Richard Fortus, both left the band in 2015 to focus on Guns N' Roses.\n\nReed played keyboard on the 2019 album “You’re Welcome” by Cokie The Clown, a solo effort by NOFX frontman Fat Mike.\n\nPersonal life\nReed was divorced after 20 years of marriage, to wife Lisa, an author, and special education teacher, filed for divorce in 2010. They have two daughters; Skye, born in 1992 and Shade born in 1996. He also has one son from a previous relationship, Justin Gunn-Reed, born in 1988.\n\nIn 2005, Reed took the unusual step of seeking admission to a college fraternity well after the traditional age of inductees, and on January 22, 2006 was admitted to the Cornell University chapter of Zeta Psi.\n\nDiscography\n\nSolo\n\nAlbums\n\nOther appearances\n\nwith Guns N' Roses\n\nStudio albums\n\nLive albums\n\nCompilation albums\n\nContributions\n\nwith Johnny Crash\n\nwith The Dead Daisies\n\nGuest appearances\n\nReferences\n\nExternal links\n gunsnroses.com – Official Guns N' Roses website\n \n\n1963 births\n20th-century American musicians\n21st-century American musicians\nAmerican heavy metal keyboardists\nAmerican rock keyboardists\nAmerican rock songwriters\nGuns N' Roses members\nJohnny Crash members\nLiving people\nMusicians from Colorado\nMusicians from Illinois\nAmerican rock pianists\nAmerican male pianists\nMusicians from Los Angeles\nPeople from Hinsdale, Illinois\nSlash's Snakepit members\nSongwriters from California\nSongwriters from Colorado\nSongwriters from Illinois\nThe Dead Daisies members\n20th-century American pianists\n21st-century American keyboardists\n20th-century American keyboardists", "Robert John (born on November 10, 1961 in Birmingham, Alabama) is an American music photographer. He was the primary photographer for the hard rock band Guns N' Roses for almost two decades.\n\nBiography\nBorn in Birmingham, Alabama on November 10, 1961, John moved to California with his parents when he was three years old. In his youth, he had a racing career that ended after an injury to his back and the death of his father. \n\nIn 1982, John started as a professional photographer in the music industry by shooting W.A.S.P., London, LA Guns and Hollywood Rose. When the latter became Guns N' Roses, John worked with them and became their exclusive photographer when the band was signed to Geffen Records. Currently he is staff photographer at Twisted South Magazine and Evel Knievel Enterprises.\n\nIn 2003, John sued Guns N' Roses frontman Axl Rose for breach of contract over photos that John had been taking of the band since 1985. He later established an online video channel dedicated to the band. \n\nIn 2014 , John married his wife Lori Moody, born and raised in Downey, Ca. He has two step sons; Kenny And Christian Perez .\n\nClients\n\nMusic\nAlice Cooper\nAsia\nEric Clapton\nOzzy Osbourne\nElton John\nBackstreet Boys\nThe Rolling Stones\nThe Cult\nLondon\nAerosmith\nJane's Addiction\nFaith No More\nMarilyn Manson\nSepultura\nW.A.S.P.\nLondon\nLA Guns\nGuns N' Roses (originally photographed them as Hollywood Rose)\nbecame the band's exclusive photographer when the band signed to Geffen Records\nauthored one book entitled Guns N' Roses: The Photographic History\nphotography appears in a Guns N' Roses pinball machine\nappeared in:\nAppetite For Destruction: The Days of Guns N' Roses by Danny Sugerman\nHollywood Rocks! on Cleopatra Records.\ncameo appearances in some Guns N' Roses music videos\nfeatured on TV in:\nVH1's Behind The Music\na BBC documentary called Guns N' Roses: The Photographic History (named after John's book) by Indigo Productions\nBio. Guns N' Roses - Biography.\nMotörhead\nalbums\nInferno\nKiss of Death\nMotörizer\nThe Wörld Is Yours\nAftershock\nphotographed the tours that supported those releases\n\nRecord labels\n\nGeffen Records\nSony BMG, Universal Records\nWarner Bros. Records\nInterscope\nAtlantic Records\nVirgin Records\nIsland Records\nCapitol Records\nColumbia Records\nRCA Records\nElektra Records\nEMI\nSPV GmbH\nCentury Media\nMetal Blade\n\nMagazines\n\nRolling Stone\nRIP\nKerrang\nSpin Magazine\nAlternative Press magazine\nRevolver Magazine\nHITS Magazine\nGuitar World\nHamilton This Month\nGuitarist\nHard Rock\nRaw Magazine\nMusic Life\nHard Break\nDeep Purple in Rock\nPopgear\nSuosikk\nGrindhouse\nTerrorizer\nMetal Edge\nMetal Hammer\nTwisted South\n\nReferences\nCitations\n\nFurther reading\n\nExternal links\nRobert John Photography — official website\n\n1961 births\nLiving people\nAmerican photographers\nArtists from Birmingham, Alabama" ]
[ "Izzy Stradlin", "2003-2010: Independent solo career and second return to Guns N' Roses", "when did he go solo?", "In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria.", "was it successful?", "However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order.", "what did he do next?", "The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes.", "when did he return to Guns N Roses?", "In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York;" ]	C_48e67b2c8b044ab3a792b9123682cc93_0	did he release any other solo albums?	5	Besides playing with Guns and Roses, did Izzy Stradlin release any other solo albums?	Izzy Stradlin	In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin--prompted by a fan petition--made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". CANNOTANSWER	Stradlin released his seventh album, Miami, through iTunes in May 2007.	Jeffrey Dean Isbell (born April 8, 1962), best known as Izzy Stradlin, is an American guitarist, singer and songwriter. He was a co-founder and rhythm guitarist of the hard rock band Guns N' Roses, which he left at the height of their fame in 1991, and with whom he recorded four studio albums. Following his departure from Guns N' Roses, Stradlin fronted his own rock band Izzy Stradlin and the Ju Ju Hounds, before continuing to record as a solo artist. He was inducted into the Rock and Roll Hall of Fame as a member of Guns N' Roses in 2012. Life and career Early life Stradlin was born as Jeffrey Dean Isbell in Indiana. His father, Richard Clyde Isbell, was an engraver and his mother, Sonja LaVern Isbell, née Reagan, worked for a phone company. They divorced when he was eight and his mother moved with Stradlin and his two younger brothers, Kevin Thomas Isbell and Joseph “Joe” Isbell to Lafayette, Indiana. His father remarried in 1975 and had two daughters with his new wife. Of his hometown, Stradlin later said, "It was cool growing up there. There's a courthouse and a college, a river and railroad tracks. It's a small town, so there wasn't much to do. We rode bikes, smoked pot, got into trouble - it was pretty Beavis and Butt-Head actually." Stradlin developed an interest in music early in life; by the age of eight, his musical favorites included Bob Dylan, Pink Floyd, Alice Cooper, and Led Zeppelin. His biggest musical influence was his paternal grandmother, who played drums in a swing jazz band with her friends. Inspired, Stradlin talked his parents into buying him a drum kit. In high school, Stradlin started a band with his friends, one of whom was singer William Bailey, later known as Axl Rose. Stradlin recalled, "We were long-haired guys in high school. You were either a jock or a stoner. We weren't jocks, so we ended up hanging out together. We'd play covers in the garage. There were no clubs to play at, so we never made it out of the garage." Despite his aversion to school, Stradlin graduated in 1980 with a D average, the only original member of Guns N' Roses with a high school diploma. Set on a career in music, he subsequently moved to Los Angeles, California. 1980–1984: Career beginnings Shortly after his arrival in Los Angeles, Stradlin joined punk band Naughty Women. During his ill-fated first show with the band, audience members began attacking the musicians; Stradlin recalled, "I just grabbed a cymbal stand and stood on the side trying to fend them off, yelling, 'Get the fuck away from me, man!' That was my introduction to the rock scene in L.A." His two-month tenure in Naughty Women was followed by a stint in punk band The Atoms, before his drum kit was stolen from his car and he switched to bass. Stradlin then joined the heavy metal band Shire, during which he took up rhythm guitar to aid his songwriting. In 1983, Stradlin formed Hollywood Rose with his childhood friend Axl Rose, who had moved to Los Angeles the previous year. In January 1984, the band recorded a five-song demo featuring the tracks "Killing Time", "Anything Goes", "Rocker", "Shadow of Your Love", and "Reckless Life", which were released in 2004 as part of the compilation album The Roots of Guns N' Roses. The group disbanded in August, following which Stradlin briefly joined Sunset Strip staple London. He also formed the short-lived band Stalin with singer Eric Leach and guitarist Taz Rudd of Symbol Six. In December, he reunited with Hollywood Rose. 1985–1991: Guns N' Roses In March 1985, Stradlin founded Guns N' Roses with Axl Rose and members of L.A. Guns, Tracii Guns, Ole Beich and Rob Gardner, as a favor to L.A. Guns manager, Raz Cue, who had previously booked the act at the Troubadour. By June, the line-up consisted of Rose, guitarist Slash, rhythm guitarist Stradlin, bassist Duff McKagan, and drummer Steven Adler. They played nightclubs—such as the Whisky a Go Go, The Roxy, and The Troubadour—and opened for larger acts throughout 1985 and 1986. During this period, the band wrote much of its classic material, and Stradlin established himself as a key songwriter. In July 1987, Guns N' Roses released their debut album, Appetite for Destruction, which to date has sold over 28 million copies worldwide, including 18 million in the United States alone. Stradlin wrote or cowrote most of its songs, including the hits "Sweet Child o' Mine" and "Paradise City". He also wrote the hit "Patience" on the follow-up G N' R Lies, released in November 1988 to US sales of five million copies, despite containing only eight tracks, four of which were included on the previously released EP Live ?!*@ Like a Suicide. As their success grew, so did tensions within the band. In 1989, opening for The Rolling Stones, Rose threatened to leave the band if Stradlin, Slash, and Adler didn't stop "dancing with Mr. Brownstone," a reference to their song of the same name about heroin. After being sentenced to a year's probation for urinating in public aboard an airplane (after which the band nicknamed him "Whizzy"), Stradlin decided to attain sobriety; he returned to his house in Indiana, where he detoxed from drugs and alcohol. In September 1991, Guns N' Roses released the long-awaited Use Your Illusion I and Use Your Illusion II, which debuted at No. 2 and No. 1 respectively in the US chart – an unprecedented feat. Stradlin cowrote the hits "Don't Cry" and "You Could Be Mine", and performed lead vocals on "Dust N' Bones", "You Ain't the First", "Double Talkin' Jive", and "14 Years". As with their previous records, his preferred guitar during recording was a Gibson ES-175. By the release of the Use Your Illusion albums, Stradlin had become dissatisfied with life in Guns N' Roses: "Once I quit drugs, I couldn't help looking around and asking myself, 'Is this all there is?' I was just tired of it; I needed to get out." On November 7, 1991, it was announced that he had left Guns N' Roses, having played his final show as an official member on August 31 at Wembley Stadium. Stradlin later said, "I didn't like the complications that became such a part of daily life in Guns N' Roses," citing the Riverport riot and Axl Rose's chronic lateness and diva behavior on the Use Your Illusion Tour as examples. He also objected to a contract with which he was presented: "This is right before I left – demoting me to some lower position. They were gonna cut my percentage of royalties down. I was like, 'Fuck you! I've been there from Day One. Why should I do that? Fuck you, I'll go play the Whisky.' That's what happened. It was utterly insane." Stradlin added that getting sober played a part in his decision to leave, saying, "When you're fucked up, you're more likely to put up with things you wouldn't normally put up with." Some of Stradlin's guitar playing recorded during the Illusion sessions appears on Guns N' Roses's 1993 covers album "The Spaghetti Incident?", although he was uncredited on the project. 1992–1994: Ju Ju Hounds and first return to Guns N' Roses Following his departure from Guns N' Roses, Stradlin returned to his hometown of Lafayette, Indiana, where he began working on new material. He formed the band Izzy Stradlin and the Ju Ju Hounds, which consisted of Stradlin on vocals and rhythm guitar, Rick Richards of Georgia Satellites on lead guitar, Jimmy Ashhurst of Broken Homes on bass, and Charlie Quintana on drums. Their self-titled debut album was released in October 1992 to positive reviews; Rolling Stone called it "a ragged, blues-drenched, and thoroughly winning solo debut." Ju Ju Hounds played its first show in September at The Avalon in Chicago, before embarking on a tour of Europe, Australia, and North America. In May 1993, Stradlin reunited with Guns N' Roses for five shows in Europe and the Middle East to fill in for his replacement, Gilby Clarke, who had broken his wrist in a motorcycle accident. After Stradlin returned to the Ju Ju Hounds, Axl Rose dedicated the Stradlin-penned "Double Talkin' Jive" to him during several shows. In September, the Ju Ju Hounds undertook a tour of Japan, where the band played its final show at the Shibuya Public Hall in Tokyo. Stradlin then took time off from music, during which he traveled extensively and dedicated much of his time to his other passion - motor racing, even building a track close to his Indiana home. 1995–2002: Solo career and Velvet Revolver In 1995, Stradlin began recording material for his first solo album, 117°. Released in March 1998, the album was recorded in fits and starts over a period of two years and featured his former bandmates Duff McKagan and Rick Richards, as well as former Reverend Horton Heat drummer Taz Bentley, whose work Stradlin admired. As before, Stradlin had little interest in promoting his music; he did few interviews and played no live performances. The album turned out to be his last release on his long-time label Geffen; as a result of the merge between Geffen and Interscope, Stradlin was dropped from the label's roster. In December 1999, Stradlin's next solo album, Ride On, was released on the Universal Victor label in Japan. It featured the same line-up as his previous release. To promote the album, Stradlin - with McKagan, Richards, and Bentley— played four shows in Japan the following April. With the addition of keyboardist Ian McLagan, the group recorded two more albums: River, which was released in May 2001 on Sanctuary, and a second Japan-only release, On Down the Road, which followed in August 2002 on JVC Victor. Stradlin was then asked by his former Guns N' Roses bandmates Duff McKagan, Slash, and Matt Sorum to join the supergroup Velvet Revolver. Although he contributed to the songwriting process while the band was in its formative stage, Stradlin ultimately declined to join due to his aversion to life on the road and his unwillingness to work with a lead singer, although he offered to share vocal duties with McKagan. 2003–2010: Independent solo career and second return to Guns N' Roses In 2003, Stradlin recorded his sixth album, Like a Dog, with guitarist Rick Richards, drummer Taz Bentley, and bassist JT Longoria. It was originally scheduled for a late 2003 release, with just under one thousand promo copies made. However, the album was not released until October 2005, when Stradlin — prompted by a fan petition—made it available through internet order. The following year, Stradlin re-released Ride On, River, On Down the Road, and Like a Dog through iTunes. In May 2006, thirteen years after his last performance with Guns N' Roses, Stradlin made a guest appearance at the band's show at the Hammerstein Ballroom in New York; he played on "Patience", "Think About You", and "Nightrain". He then performed with Guns N' Roses for 13 shows during the band's summer European tour. Stradlin said, "Axl [Rose] and I connected via cell phone this year, I stopped by. It was nice to reconnect with an old friend/war buddy/fellow musician. I told him later I'd like to join the fun in some way and he said I was welcome to come and play something, so I did! Took me about three weeks to recover from the six weeks of touring!" In December, he played three shows with the group at the Gibson Amphitheatre in Universal City, California. Stradlin released his seventh album, Miami, through iTunes in May 2007. It again featured Rick Richards, Taz Bentley, and JT Longoria, as well as keyboardist Joey Huffman. Guitarist Richards described the album as being "a bit of a departure from Like a Dog but still quite a rocker." In July, a remixed version of Miami was released through iTunes; Stradlin called the new mix "much louder and more powerful sounding." In November of that year, he released a second iTunes-only album, Fire, the Acoustic Album, which also featured Richards, Bentley, and Longoria. Stradlin's next iTunes release, Concrete, came out in July 2008. In addition to his regular collaborators, Stradlin also invited Duff McKagan to play bass on three songs, including the title track. Stradlin then released two more albums through iTunes: Smoke, which came out in December 2009, and Wave of Heat, which followed in July 2010 and again featured McKagan, who appears on seven tracks. Also in 2010, Stradlin appeared as a guest on Slash's first solo album, Slash; he performs rhythm guitar on the first track, "Ghost". 2011–present: Hall of Fame induction and third return to Guns N' Roses In April 2012, Stradlin was inducted into the Rock and Roll Hall of Fame as a member of the classic lineup of Guns N' Roses. In a statement released through Duff McKagan's blog for Seattle Weekly, he thanked the Rock and Roll Hall of Fame "for the acknowledgement of our works over the years," his former bandmates, and his fans for their continuing support. Known to avoid public attention, Stradlin did not attend the induction ceremony. In the month following the induction, Stradlin joined Guns N' Roses on stage during two shows at London's O2 Arena, where they performed a range of songs including "14 Years," which had not been performed live since his departure in 1991. He also performed with Guns N' Roses in July, at a private show in Saint-Tropez and a concert in Palma de Mallorca, and again in November, during the last two shows of the band's twelve-date "Appetite for Democracy" residency in Las Vegas. Also in November, Stradlin released the iTunes-only single "Baby-Rann"—his first release in over two years; an accompanying video was made available via YouTube. Amidst rumors and speculation, Stradlin joined Twitter, and confirmed in a statement to Rolling Stone that he will not be involved with the 'reunited' Guns N' Roses lineup in 2016. He later stated that he declined because the band "didn't want to split the loot equally". In 2018, Alan Niven reported that Stradlin participated in a soundcheck with Guns N' Roses sometime in 2017, but ultimately left before guesting on the show. Stradlin also reportedly declined special guest appearances similar to the ones Adler had. Stradlin released numerous singles in 2016, previewing samples of the songs via his Twitter account and through the YouTube channel 'classicrockstuffs'. "Sunshine" by Jonathon Edwards and "Stuck in the Middle with You" by Stealers Wheel were acoustic videos made available through YouTube, whilst "Walk N' Song", "F.P. Money" (featuring former Guns N' Roses drummer Matt Sorum), "To Being Alive" and a cover version of the J.J. Cale song "Call Me the Breeze "featuring Jesse Aycock and Lauren Barth, were released to online music stores. In 2017, Stradlin played guitar on the song "Grandview" by John Mellencamp, on his album Sad Clowns & Hillbillies. Martina McBride was also featured on the song. Personal life On 29 May 1995 in Indiana, Stradlin married then 31 year old Swedish biologist and environmentalist Annica Kreuter. The couple divorced in California in May 2001. Izzy's grandfather's half-brother, Joseph William “Little Joe” Isbell, born in Bloomington Indiana, 1916 and died in 2008 was also a recording and touring artist, described as a "country yodeler". In 2016, Stradlin still lived in California, in the Ojai Valley Equipment Guitars: ESP Eclipse Custom Gibson ES-175 Gibson Byrdland Gibson ES-135 Gibson Les Paul Custom Fender Telecaster Gibson ES-355 Gibson Les Paul Special Double Cutaway Amps: Mesa Boogie Mark Series Mark I and Mark IIB Coliseum Fender Bassman heads with a Mesa Boogie 4x12 cabinet Marshall JCM-800 Discography Studio albums 117° (1998) Ride On (1999) River (2001) On Down the Road (2002) Like a Dog (2005) Miami (2007) Fire, the Acoustic Album (2007) Concrete (2008) Smoke (2009) Wave of Heat (2010) with Guns N' Roses Appetite for Destruction (1987) G N' R Lies (1988) Use Your Illusion I (1991) Use Your Illusion II (1991) "The Spaghetti Incident?" (1993) (uncredited) with The Ju Ju Hounds Pressure Drop EP (1992) Izzy Stradlin and the Ju Ju Hounds (1992) Izzy Stradlin and the Ju Ju Hounds Live EP (1993) References External links 1962 births 20th-century American guitarists 20th-century American singers 21st-century American singers American heavy metal guitarists American male guitarists American multi-instrumentalists American rock songwriters American rock singers Guitarists from Indiana Guitarists from Los Angeles Guns N' Roses members Hollywood Rose members Living people People from Lafayette, Indiana Rhythm guitarists Singers from Indiana Singers from Los Angeles Songwriters from California Songwriters from Indiana	true	[ "ANS is a box set by Coil. The album uses a strange and esoteric photoelectric synthesizer known as the ANS synthesizer. It was built around half a century ago and still to this day sits where it was originally conceived; in the Moscow State University.\n\nRelease history\nThis 3 CD release also came with a DVD that held animations created by Peter Christopherson which synched with four songs that are not included on any of the CDs. It is an expanded release of ANS, with CD A being the same as that release.\n\nOriginally limited to 500 copies, it was re-released together with several other albums. The re-release appears to be mostly identical to the original edition, the only notable difference being that the front covers of the CDs and DVD are slightly different now.\n\nSeveral of the drawings that were made to create the music are shown, although it is nowhere stated to which track the drawings do correspond.\n\nIt is stated in the insert that the songs are the work of Jhonn Balance solo, Jhonn Balance and Ossian Brown, Peter Christopherson solo, Thighpaulsandra solo, Ivan Pavlov solo and Jhonn Balance and Ivan Pavlov, although it is nowhere stated to whom which track corresponds.\n\nAll of the tracks present on the CDs and DVD are untitled.\n\nTrack listing\n\n\"CD A\"\n 20:54\n 25:38\n 29:39\n\n\"CD B\"\n 26:22\n 30:18\n\n\"CD C\"\n 28:04\n 32:06\n\n\"DVD\"\n 15:36\n 10:10\n 15:36\n 20:55\n\nReferences\n\nExternal links\n \n \n ANS at Brainwashed\n\n2004 compilation albums\nThreshold House compilation albums\nCoil (band) compilation albums", "Songwriter is a studio album by American country singer-songwriter Bill Anderson. It was released via TWI Records in May 2010. The project was co-produced by Bill Anderson and Rex Schnelle. It was Anderson's 42nd studio album in his recording career and contained a total of 12 tracks.\n\nBackground and content\nSongwriter was originally going to be titled Good Time Gettin' Here, but Anderson changed the name for one reason. \"So then I began to think of some songs that I've had that had not been recorded that I was proud of, and the whole thing just evolved. One day I said, 'Why don't we just call it 'Songwriter?' Basically if I'm anything, I guess that's what I am,\" he recalled in 2010. Anderson co-produced the project with Rex Schnelle. The pair have recorded several studio albums in the past.\n\nThe album was a collection of 12 tracks, all of which were written by Anderson. Many of the album's tracks contained collaborations with other artists. The fourth track, \"If You Can't Make Money\", includes a guitar solo from Brad Paisley. Other collaborations on the project include Jon Randall and Billy Montana.\n\nRelease\nSongwriter was released in May 2010 on Anderson's own label called TWI Records. It was offered as a compact disc and a music download. The album did not chart on any publication at the time of its release, including Billboard. The final album track, \"Thanks to You\", was released as a single in 2010 but did not reach any charting positions.\n\nTrack listing\n\nPersonnel\nAll credits are adapted from the liner notes of Songwriter.\n\n Bill Anderson – producer, lead vocals\n Brad Paisley – guitar\n Rex Schnelle – producer\n\nRelease history\n\nReferences\n\n2010 albums\nAlbums produced by Bill Anderson (singer)\nBill Anderson (singer) albums" ]
[ "Nikolai Yezhov", "Fall from power" ]	C_81f15dce762c478592b147127b92a632_0	how long was he in power before the fall from power?	1	how long was Nikolai Yezhov in power before the fall from power?	Nikolai Yezhov	Yezhov was appointed People's Commissar for Water Transport on April 6, 1938. Though he retained his other posts, his role as grand inquisitor and extractor of confessions gradually diminished as Stalin retreated from the worst excesses of the Great Purge. By saddling him with the extra job, Stalin killed two birds with one stone: Yezhov could correct the water transportation situation with tough Chekist methods, and his transfer to the terra incognita of economic tasks would leave him less time for the NKVD and weaken his position there, thus creating the possibility that in due course he could be removed from the leadership of the punitive apparatus and replaced by fresh people. Contrary to Stalin's expectations, the vast number of party officials and military officers lost during Yezhov's purges had been only partially made good by replacement with trusted Stalinist functionaries, and he eventually recognized that the disruption was severely affecting the country's ability to coordinate industrial production and defend its borders from the growing threat of Nazi Germany. Yezhov had accomplished Stalin's intended task for the Great Purge: the public liquidation of the last of his Old Bolshevik political rivals and the elimination of any possibility of "disloyal elements" or "fifth columnists" within the Soviet military and government prior to the onset of war with Germany. From Stalin's perspective, Yezhov (like Yagoda) had served his purpose but had seen too much and wielded too much power to be allowed to live. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on June 13, 1938, rightly worried Yezhov, who had protected Lyushkov from the purges and feared he would be blamed. CANNOTANSWER	the possibility that in due course he could be removed from the leadership of the punitive apparatus and replaced by fresh people.	Nikolai Ivanovich Yezhov (; 1 May 1895 – 4 February 1940) was a Soviet secret police official under Joseph Stalin who was head of the NKVD from 1936 to 1938, during the height of the Great Purge. Yezhov organized mass arrests, torture and executions during the Great Purge, but he fell from Stalin's favour, was arrested and executed in 1940. Early life and career Yezhov was born either in Saint Petersburg, according to his official Soviet biography, or in southwest Lithuania (probably Veiveriai, Marijampolė or Kaunas). Although Yezhov claimed to be born in Saint Petersburg, then named Petrograd, hoping to "portray (himself) in the guise of a deeply-rooted proletarian", he confessed when interrogated that his father Ivan Yezhov came from a well-off Russian peasant family from the village of Volkhonshino. He worked as a musician, railroad switchman, forest warden, head of a brothel, and as a housepainting contractor employing a couple of hired workers. His mother Anna Antonovna Yezhova was Lithuanian. Despite writing in his official biographical forms that he knew Lithuanian and Polish, he denied this in his later interrogations. He completed only his elementary education. From 1909 to 1915, he worked as a tailor's assistant and factory worker. From 1915 until 1917, Yezhov served in the Imperial Russian Army. He joined the Bolsheviks on 5 May 1917, in Vitebsk, six months before the October Revolution. During the Russian Civil War (1917–1922), he fought in the Red Army. After February 1922, he worked in the political system, mostly as a secretary of various regional committees of the Communist Party. In 1927, he was transferred to the Accounting and Distribution Department of the Party where he worked as an instructor and acting head of the department. From 1929 to 1930, he was the Deputy People's Commissar for Agriculture. In November 1930, he was appointed to the Head of several departments of the Communist Party: department of special affairs, department of personnel and department of industry. In 1934, he was elected to the Central Committee of the Communist Party; in the next year he became a secretary of the Central Committee. From February 1935 to March 1939, he was also the Chairman of the Central Commission for Party Control. In the "Letter of an Old Bolshevik" (1936), written by Boris Nicolaevsky, there is Bukharin's description of Yezhov: Nadezhda Mandelstam, in contrast, who met Yezhov at Sukhum in the early thirties, did not perceive anything ominous in his manner or appearance; her impression of him was that of a "modest and rather agreeable person". Yezhov was short, standing , and that, combined with his perceived sadistic personality, led to his nickname "The Poison Dwarf" or "The Bloody Dwarf". Personal life Yezhov married a Marxist Antonina Titova in 1919, but he later divorced her and married (Khayutina-Yezhova), a Soviet publishing worker and Chief Editor of USSR in Construction magazine who was known for her friendship with many Soviet writers and actors. Yezhov and Feigenburg had an adopted daughter, Natalia, an orphan from a children's home. After Yevgenia's and Yezhov's deaths in late 1938 and 1940 respectively, Natalia was sent back to a local orphanage and was forced to relinquish the Yezhov surname. Subsequently, she was known by the name Natalia Khayutina. Accusation of homosexuality On 24 April 1939, Yezhov was accused of homosexual acts, which were usually accompanied by drunkenness. When Yezhov was arrested in 1939, he stated during his interrogation that he was the lover of Filipp Goloshchyokin, leader of the Kazakh ASSR, during the latter half of 1925, and that they had shared an apartment in Kzyl-Orda. Head of the NKVD A turning point for Yezhov came with Stalin's response to the 1934 murder of the Bolshevik chief of Leningrad, Sergei Kirov. Stalin used the murder as a pretext for further purges and he chose Yezhov to carry out the task. Yezhov oversaw falsified accusations in the Kirov murder case against opposition leaders Kamenev, Zinoviev and their supporters. Yezhov's success in this task led to his further promotion and ultimately to his appointment as head of the NKVD. He became People's Commissar for Internal Affairs (head of the NKVD) and a member of the Central Committee on 26 September 1936, following the dismissal of Genrikh Yagoda. This appointment did not at first seem to suggest an intensification of the purge: "Unlike Yagoda, Yezhov did not come out of the 'organs', which was considered an advantage". Party leadership revocation and executions of those found guilty during the Moscow Trials was not a problem for Yezhov. Seeming to be a devout admirer of Stalin and not a member of the organs of state security, Yezhov was just the man Stalin needed to lead the NKVD and rid the government of potential opponents. Yezhov's first task from Stalin was to personally investigate and conduct prosecution of his long-time Chekist mentor Yagoda, which he did with remorseless zeal. Yezhov ordered the NKVD to sprinkle mercury on the curtains of his office so that the physical evidence could be collected and used to support the charge that Yagoda was a German spy, sent to assassinate Yezhov and Stalin with poison and restore capitalism. Yezhov later admitted under a interrogation on 5 May 1939 that he had fabricated the mercury poisoning to "raise his authority in the eyes of the leadership of the country". It is also claimed that he personally tortured both Yagoda and Marshal Mikhail Tukhachevsky to extract their confessions. Yagoda was but the first of many to die by Yezhov's orders. Under Yezhov, the Great Purge reached its height during 1937–1938. 50–75% of the members of the Supreme Soviet and officers of the Soviet military were stripped of their positions and imprisoned, exiled to the Gulags in Siberia or executed. In addition, a much greater number of ordinary Soviet citizens were accused (usually on flimsy or nonexistent evidence) of disloyalty or "wrecking" by local Chekist troikas and similarly punished to fill Stalin and Yezhov's arbitrary quotas for arrests and executions. Yezhov also conducted a thorough purge of the security organs, both NKVD and GRU, removing and executing not only many officials who had been appointed by his predecessors Yagoda and Menzhinsky, but even his own appointees as well. He admitted that innocents were being falsely accused, but dismissed their lives as unimportant so long as the purge was successful: In 1937 and 1938 alone, at least 1.3 million were arrested and 681,692 were shot for 'crimes against the state'. The Gulag population swelled by 685,201 under Yezhov, nearly tripling in size in just two years, with at least 140,000 of these prisoners (and likely many more) dying of malnutrition, exhaustion and the elements in the camps (or during transport to them). Fall from power Yezhov was appointed People's Commissar for Water Transport on 6 April 1938. During the Great Purge, acting on the orders from Stalin, he had accomplished liquidation of Old Bolsheviks and other potentially "disloyal elements" or "fifth columnists" within the Soviet military and government prior to the onset of war with Germany. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on 13 June 1938, for the right reasons worried Yezhov, who had earlier protected Lyushkov from the purges and now feared that he would be blamed for disloyalty. Final days On 22 August 1938, NKVD leader Lavrenty Beria was named as Yezhov's deputy. Beria had managed to survive the Great Purge and the "Yezhovshchina" during the years 1936–1938, even though he had almost become one of its victims. Earlier in 1938, Yezhov had even ordered the arrest of Beria, who was party chief in Georgia. However, Georgian NKVD chief Sergei Goglidze warned Beria, who immediately flew to Moscow to see Stalin personally. Beria convinced Stalin to spare his life and reminded Stalin how efficiently he had carried out party orders in Georgia and Transcaucasia. In a twist of fate, it was Yezhov who eventually fell in the struggle for power, and Beria who became the new NKVD chief. Over the following months, Beria (with Stalin's approval) began increasingly to usurp Yezhov's governance of the Commissariat for Internal Affairs. As early as 8 September, Mikhail Frinovsky, Yezhov's first deputy, was relocated from under his command into the Navy. Stalin's penchant for periodically executing and replacing his primary lieutenants was well known to Yezhov, as he had previously been the man most directly responsible for orchestrating such actions. Well acquainted with typical Stalinist bureaucratic precursors to eventual dismissal and arrest, Yezhov recognized Beria's increasing influence with Stalin as a sign that his downfall was imminent, and he plunged headlong into alcoholism and despair. Already a heavy drinker, in the last weeks of his service, he reportedly was disconsolate, slovenly, and drunk nearly all of his waking hours, rarely bothering to show up to work. As anticipated, Stalin and Vyacheslav Molotov, in a report dated November 11, sharply criticised the work and methods of the NKVD during Yezhov's tenure as chief, thus establishing the bureaucratic pretense necessary to remove him from power. On 14 November, another of Yezhov’s protégés, the Ukrainian NKVD chief Alexander Uspensky, disappeared after being warned by Yezhov that he was in trouble. Stalin suspected that Yezhov was involved in the disappearance and told Beria, not Yezhov, that Uspensky must be caught (he was arrested on 14 April 1939). Yezhov had told his wife, Yevgenia, on 18 September that he wanted a divorce, and she had begun writing increasingly despairing letters to Stalin, none of which was answered. She was particularly vulnerable because of her many lovers, and for months people close to her were being arrested. On 19 November 1938, Yevgenia committed suicide by taking an overdose of sleeping pills. At his own request, Yezhov was officially relieved of his post as the People's Commissar for Internal Affairs on 25 November, succeeded by Beria, who had been in complete control of the NKVD since the departure of Frinovsky on 8 September. He attended his last Politburo meeting on 29 January 1939. Stalin was evidently content to ignore Yezhov for several months, finally ordering Beria to denounce him at the annual Presidium of the Supreme Soviet. On 3 March 1939, Yezhov was relieved of all his posts in the Central Committee, but retained his post as People's Commissar of Water Transportation. His last working day was 9 April at which time the "People’s Commissariat was simply abolished by splitting it into two, the People’s Commissariats of the River Fleet and the Sea Fleet, with two new People’s Commissars, Z. A. Shashkov and S. S. Dukel’skii." Arrest On 10 April, Yezhov was arrested and imprisoned at the Sukhanovka prison; the "arrest was painstakingly concealed, not only from the general public but also from most NKVD officers... It would not do to make a fuss about the arrest of 'the leader’s favourite,' and Stalin had no desire to arouse public interest in NKVD activity and the circumstances of the conduct of the Great Terror." A letter from Beria, Andreev and Malenkov to Stalin, dated 29 January 1939, accused the NKVD of allowing "massive, unfounded arrests of completely innocent persons", and stated that the leadership of Yezhov "did not put a stop to this kind of arbitrariness and extremism...but sometimes itself abetted it." In his confession, Yezhov admitted to the standard litany of state crimes necessary to mark him as an "enemy of the people" prior to execution, including "wrecking", official incompetence, theft of government funds, and treasonous collaboration with German spies and saboteurs. Apart from these political crimes, he was also accused of and confessed to a humiliating history of sexual promiscuity, including homosexuality, rumors that were later deemed true by some post-Soviet examinations of the case. Trial On 2 February 1940, Yezhov was tried by the Military Collegium chaired by Soviet judge Vasili Ulrikh behind closed doors. Yezhov, like his predecessor Yagoda, maintained to the end his love for Stalin. Yezhov denied being a spy, a terrorist, or a conspirator, stating that he preferred "death to telling lies". He maintained that his previous confession had been obtained under torture, admitted that he purged 14,000 of his fellow Chekists, but said that he was surrounded by "enemies of the people". He also said that he would die with the name of Stalin on his lips. After the secret trial, Yezhov was allowed to return to his cell; half an hour later, he was called back and told that he had been condemned to death. On hearing the verdict, Yezhov became faint and began to collapse, but the guards caught him and removed him from the room. An immediate appeal for clemency was denied, and Yezhov became hysterical and wept. He soon had to be dragged out of the room, struggling with the guards and screaming. Execution On 4 February 1940, Yezhov was shot by the future KGB chairman Ivan Serov (or by Vasily Blokhin, in the presence of N. P. Afanasev, according to one book source) in the basement of a small NKVD station on Varsonofevskii Lane (Varsonofyevskiy pereulok) in Moscow. The basement had a sloping floor so that it could be hosed down after executions, and had been built according to Yezhov's own specifications near the Lubyanka. The main NKVD execution chamber in the basement of the Lubyanka was deliberately avoided to ensure total secrecy. Yezhov's body was immediately cremated and his ashes dumped in a common grave at Moscow's Donskoi Cemetery. The execution remained secret and as late as 1948, Time reported: "Some think he is still in an insane asylum". Legacy In Russia, Yezhov remains mostly known as the person who was responsible for atrocities of the Great Purge that he conducted on Stalin's orders. Among art historians, he also has the nickname "The Vanishing Commissar" because after his execution, his likeness was retouched out of an official press photo; he is among the best-known examples of the Soviet press making someone who had fallen out of favour "disappear". Due to his role in the Great Purge, Yezhov has not been officially rehabilitated by the Soviet and Russian authorities. Honors and awards Order of Lenin Order of the Red Banner (Mongolia) Badge of "Honorary Security Officer" A decree of the Presidium of the Supreme Soviet on 24 January 1941 deprived Yezhov of all state and special awards. See also Article 58 (RSFSR Penal Code) Bibliography of Stalinism and the Soviet Union Censorship of images in the Soviet Union Chronology of Soviet secret police agencies Everyday Stalinism: Ordinary Life in Extraordinary Times: Soviet Russia in the 1930s Stalin: Waiting for Hitler, 1929-1941, the second volume in an extensive three-volume biography of Joseph Stalin Stalin's Peasants: Resistance and Survival in the Russian Village after Collectivization Notes Cited works External links Nikita Petrov, Marc Jansen: Stalin's Loyal Executioner: People's Commissar Nikolai Ezhov, 1895-1940 (full text in PDF) Interrogations of Nikolai Ezhov, former People's Commissar for Internal Affairs "The Commissar Vanishes: The falsification of images in Stalin's Russia" at the Index on Censorship website (includes airbrushed images of the Vanishing Commissar) 1895 births 1940 deaths NKVD officers People from Saint Petersburg People from Sankt-Peterburgsky Uyezd LGBT people from Russia LGBT politicians from Russia Old Bolsheviks Politburo of the Central Committee of the Communist Party of the Soviet Union candidate members People's commissars and ministers of the Soviet Union First convocation members of the Verkhovna Rada of the Ukrainian Soviet Socialist Republic First convocation members of the Soviet of the Union Commissars General of State Security Genocide perpetrators Directors of intelligence agencies Russian communists Russian people executed by the Soviet Union Nonpersons in the Eastern Bloc Great Purge perpetrators Recipients of the Order of Lenin Executed Russian people Police misconduct Soviet show trials Burials at Donskoye Cemetery Politicide perpetrators Russian military personnel of World War I Soviet military personnel of the Russian Civil War	false	[ "Chris & Jenna is an American indie piano pop duo from Westminster, Maryland, formed in 2009. The group was founded by Chris Badeker (piano, guitar, vocals) and Jenna Layman (piano, vocals) after college. The band released its first full-length studio album, How the Fall Makes You Feel, in August 2010. The band donates all proceeds from the sale of this album to Compassion International, while acting as advocates for child sponsorship and disaster relief at their live shows. Their second album, Waiting to Begin, was released on May 20, 2014. The album was recorded in Port St. Lucie, Florida, mixed by Shane D. Wilson and mastered by Matthew Odmark of Jars of Clay.\n\nThe couple married in 2011.\n\nIn January 2018, Chris & Jenna started playing music under the name Wild Harbors.\n\nDiscography\nHow the Fall Makes You Feel (2010)\nWaiting to Begin (2014)\n\nReferences\n\nExternal links \nOfficial website\nFacebook bandpage\n\nAmerican Christian musical groups\nAmerican power pop groups\nIndie pop groups from Maryland\nMusical groups established in 2009", "Abdul Rahim Hatif (; 20 May 1926 – 19 August 2013) was a politician in Afghanistan. He served as one of the vice presidents during the last years of the Democratic Republic of Afghanistan. He was born in Kandahar, Afghanistan.\n\nCareer\nHatif was one of the Vice Presidents of Mohammed Najibullah since the 1988 elections. He served as the first vice president from July 1991 to April 1992.\n\nBefore the first fall of Kabul, he was the acting President of Afghanistan for two weeks in April 1992, after the resignation of President Najibullah, and before the takeover of power by the Jamiat-e Islami.\n\nLater life and death\nHatif went into exile after he was put out of power in 1992. He moved to the Netherlands, where he died on 19 August 2013.\n\nReferences\n\n1926 births\n2013 deaths\n20th-century heads of state of Afghanistan\nCommunist rulers of Afghanistan\nPresidents of Afghanistan\nVice presidents of Afghanistan\nPeople's Democratic Party of Afghanistan politicians\nPeople from Kandahar\nPashtun people\n1980s in Afghanistan\n1990s in Afghanistan\nAfghan expatriates in the Netherlands" ]
[ "Nikolai Yezhov", "Fall from power", "how long was he in power before the fall from power?", "the possibility that in due course he could be removed from the leadership of the punitive apparatus and replaced by fresh people." ]	C_81f15dce762c478592b147127b92a632_0	where was he in power / where did he rule?	2	where was Nikolai Yezhov in power / where did Nikolai Yezhov rule?	Nikolai Yezhov	Yezhov was appointed People's Commissar for Water Transport on April 6, 1938. Though he retained his other posts, his role as grand inquisitor and extractor of confessions gradually diminished as Stalin retreated from the worst excesses of the Great Purge. By saddling him with the extra job, Stalin killed two birds with one stone: Yezhov could correct the water transportation situation with tough Chekist methods, and his transfer to the terra incognita of economic tasks would leave him less time for the NKVD and weaken his position there, thus creating the possibility that in due course he could be removed from the leadership of the punitive apparatus and replaced by fresh people. Contrary to Stalin's expectations, the vast number of party officials and military officers lost during Yezhov's purges had been only partially made good by replacement with trusted Stalinist functionaries, and he eventually recognized that the disruption was severely affecting the country's ability to coordinate industrial production and defend its borders from the growing threat of Nazi Germany. Yezhov had accomplished Stalin's intended task for the Great Purge: the public liquidation of the last of his Old Bolshevik political rivals and the elimination of any possibility of "disloyal elements" or "fifth columnists" within the Soviet military and government prior to the onset of war with Germany. From Stalin's perspective, Yezhov (like Yagoda) had served his purpose but had seen too much and wielded too much power to be allowed to live. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on June 13, 1938, rightly worried Yezhov, who had protected Lyushkov from the purges and feared he would be blamed. CANNOTANSWER	too much power to be allowed to live. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on June 13, 1938,	Nikolai Ivanovich Yezhov (; 1 May 1895 – 4 February 1940) was a Soviet secret police official under Joseph Stalin who was head of the NKVD from 1936 to 1938, during the height of the Great Purge. Yezhov organized mass arrests, torture and executions during the Great Purge, but he fell from Stalin's favour, was arrested and executed in 1940. Early life and career Yezhov was born either in Saint Petersburg, according to his official Soviet biography, or in southwest Lithuania (probably Veiveriai, Marijampolė or Kaunas). Although Yezhov claimed to be born in Saint Petersburg, then named Petrograd, hoping to "portray (himself) in the guise of a deeply-rooted proletarian", he confessed when interrogated that his father Ivan Yezhov came from a well-off Russian peasant family from the village of Volkhonshino. He worked as a musician, railroad switchman, forest warden, head of a brothel, and as a housepainting contractor employing a couple of hired workers. His mother Anna Antonovna Yezhova was Lithuanian. Despite writing in his official biographical forms that he knew Lithuanian and Polish, he denied this in his later interrogations. He completed only his elementary education. From 1909 to 1915, he worked as a tailor's assistant and factory worker. From 1915 until 1917, Yezhov served in the Imperial Russian Army. He joined the Bolsheviks on 5 May 1917, in Vitebsk, six months before the October Revolution. During the Russian Civil War (1917–1922), he fought in the Red Army. After February 1922, he worked in the political system, mostly as a secretary of various regional committees of the Communist Party. In 1927, he was transferred to the Accounting and Distribution Department of the Party where he worked as an instructor and acting head of the department. From 1929 to 1930, he was the Deputy People's Commissar for Agriculture. In November 1930, he was appointed to the Head of several departments of the Communist Party: department of special affairs, department of personnel and department of industry. In 1934, he was elected to the Central Committee of the Communist Party; in the next year he became a secretary of the Central Committee. From February 1935 to March 1939, he was also the Chairman of the Central Commission for Party Control. In the "Letter of an Old Bolshevik" (1936), written by Boris Nicolaevsky, there is Bukharin's description of Yezhov: Nadezhda Mandelstam, in contrast, who met Yezhov at Sukhum in the early thirties, did not perceive anything ominous in his manner or appearance; her impression of him was that of a "modest and rather agreeable person". Yezhov was short, standing , and that, combined with his perceived sadistic personality, led to his nickname "The Poison Dwarf" or "The Bloody Dwarf". Personal life Yezhov married a Marxist Antonina Titova in 1919, but he later divorced her and married (Khayutina-Yezhova), a Soviet publishing worker and Chief Editor of USSR in Construction magazine who was known for her friendship with many Soviet writers and actors. Yezhov and Feigenburg had an adopted daughter, Natalia, an orphan from a children's home. After Yevgenia's and Yezhov's deaths in late 1938 and 1940 respectively, Natalia was sent back to a local orphanage and was forced to relinquish the Yezhov surname. Subsequently, she was known by the name Natalia Khayutina. Accusation of homosexuality On 24 April 1939, Yezhov was accused of homosexual acts, which were usually accompanied by drunkenness. When Yezhov was arrested in 1939, he stated during his interrogation that he was the lover of Filipp Goloshchyokin, leader of the Kazakh ASSR, during the latter half of 1925, and that they had shared an apartment in Kzyl-Orda. Head of the NKVD A turning point for Yezhov came with Stalin's response to the 1934 murder of the Bolshevik chief of Leningrad, Sergei Kirov. Stalin used the murder as a pretext for further purges and he chose Yezhov to carry out the task. Yezhov oversaw falsified accusations in the Kirov murder case against opposition leaders Kamenev, Zinoviev and their supporters. Yezhov's success in this task led to his further promotion and ultimately to his appointment as head of the NKVD. He became People's Commissar for Internal Affairs (head of the NKVD) and a member of the Central Committee on 26 September 1936, following the dismissal of Genrikh Yagoda. This appointment did not at first seem to suggest an intensification of the purge: "Unlike Yagoda, Yezhov did not come out of the 'organs', which was considered an advantage". Party leadership revocation and executions of those found guilty during the Moscow Trials was not a problem for Yezhov. Seeming to be a devout admirer of Stalin and not a member of the organs of state security, Yezhov was just the man Stalin needed to lead the NKVD and rid the government of potential opponents. Yezhov's first task from Stalin was to personally investigate and conduct prosecution of his long-time Chekist mentor Yagoda, which he did with remorseless zeal. Yezhov ordered the NKVD to sprinkle mercury on the curtains of his office so that the physical evidence could be collected and used to support the charge that Yagoda was a German spy, sent to assassinate Yezhov and Stalin with poison and restore capitalism. Yezhov later admitted under a interrogation on 5 May 1939 that he had fabricated the mercury poisoning to "raise his authority in the eyes of the leadership of the country". It is also claimed that he personally tortured both Yagoda and Marshal Mikhail Tukhachevsky to extract their confessions. Yagoda was but the first of many to die by Yezhov's orders. Under Yezhov, the Great Purge reached its height during 1937–1938. 50–75% of the members of the Supreme Soviet and officers of the Soviet military were stripped of their positions and imprisoned, exiled to the Gulags in Siberia or executed. In addition, a much greater number of ordinary Soviet citizens were accused (usually on flimsy or nonexistent evidence) of disloyalty or "wrecking" by local Chekist troikas and similarly punished to fill Stalin and Yezhov's arbitrary quotas for arrests and executions. Yezhov also conducted a thorough purge of the security organs, both NKVD and GRU, removing and executing not only many officials who had been appointed by his predecessors Yagoda and Menzhinsky, but even his own appointees as well. He admitted that innocents were being falsely accused, but dismissed their lives as unimportant so long as the purge was successful: In 1937 and 1938 alone, at least 1.3 million were arrested and 681,692 were shot for 'crimes against the state'. The Gulag population swelled by 685,201 under Yezhov, nearly tripling in size in just two years, with at least 140,000 of these prisoners (and likely many more) dying of malnutrition, exhaustion and the elements in the camps (or during transport to them). Fall from power Yezhov was appointed People's Commissar for Water Transport on 6 April 1938. During the Great Purge, acting on the orders from Stalin, he had accomplished liquidation of Old Bolsheviks and other potentially "disloyal elements" or "fifth columnists" within the Soviet military and government prior to the onset of war with Germany. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on 13 June 1938, for the right reasons worried Yezhov, who had earlier protected Lyushkov from the purges and now feared that he would be blamed for disloyalty. Final days On 22 August 1938, NKVD leader Lavrenty Beria was named as Yezhov's deputy. Beria had managed to survive the Great Purge and the "Yezhovshchina" during the years 1936–1938, even though he had almost become one of its victims. Earlier in 1938, Yezhov had even ordered the arrest of Beria, who was party chief in Georgia. However, Georgian NKVD chief Sergei Goglidze warned Beria, who immediately flew to Moscow to see Stalin personally. Beria convinced Stalin to spare his life and reminded Stalin how efficiently he had carried out party orders in Georgia and Transcaucasia. In a twist of fate, it was Yezhov who eventually fell in the struggle for power, and Beria who became the new NKVD chief. Over the following months, Beria (with Stalin's approval) began increasingly to usurp Yezhov's governance of the Commissariat for Internal Affairs. As early as 8 September, Mikhail Frinovsky, Yezhov's first deputy, was relocated from under his command into the Navy. Stalin's penchant for periodically executing and replacing his primary lieutenants was well known to Yezhov, as he had previously been the man most directly responsible for orchestrating such actions. Well acquainted with typical Stalinist bureaucratic precursors to eventual dismissal and arrest, Yezhov recognized Beria's increasing influence with Stalin as a sign that his downfall was imminent, and he plunged headlong into alcoholism and despair. Already a heavy drinker, in the last weeks of his service, he reportedly was disconsolate, slovenly, and drunk nearly all of his waking hours, rarely bothering to show up to work. As anticipated, Stalin and Vyacheslav Molotov, in a report dated November 11, sharply criticised the work and methods of the NKVD during Yezhov's tenure as chief, thus establishing the bureaucratic pretense necessary to remove him from power. On 14 November, another of Yezhov’s protégés, the Ukrainian NKVD chief Alexander Uspensky, disappeared after being warned by Yezhov that he was in trouble. Stalin suspected that Yezhov was involved in the disappearance and told Beria, not Yezhov, that Uspensky must be caught (he was arrested on 14 April 1939). Yezhov had told his wife, Yevgenia, on 18 September that he wanted a divorce, and she had begun writing increasingly despairing letters to Stalin, none of which was answered. She was particularly vulnerable because of her many lovers, and for months people close to her were being arrested. On 19 November 1938, Yevgenia committed suicide by taking an overdose of sleeping pills. At his own request, Yezhov was officially relieved of his post as the People's Commissar for Internal Affairs on 25 November, succeeded by Beria, who had been in complete control of the NKVD since the departure of Frinovsky on 8 September. He attended his last Politburo meeting on 29 January 1939. Stalin was evidently content to ignore Yezhov for several months, finally ordering Beria to denounce him at the annual Presidium of the Supreme Soviet. On 3 March 1939, Yezhov was relieved of all his posts in the Central Committee, but retained his post as People's Commissar of Water Transportation. His last working day was 9 April at which time the "People’s Commissariat was simply abolished by splitting it into two, the People’s Commissariats of the River Fleet and the Sea Fleet, with two new People’s Commissars, Z. A. Shashkov and S. S. Dukel’skii." Arrest On 10 April, Yezhov was arrested and imprisoned at the Sukhanovka prison; the "arrest was painstakingly concealed, not only from the general public but also from most NKVD officers... It would not do to make a fuss about the arrest of 'the leader’s favourite,' and Stalin had no desire to arouse public interest in NKVD activity and the circumstances of the conduct of the Great Terror." A letter from Beria, Andreev and Malenkov to Stalin, dated 29 January 1939, accused the NKVD of allowing "massive, unfounded arrests of completely innocent persons", and stated that the leadership of Yezhov "did not put a stop to this kind of arbitrariness and extremism...but sometimes itself abetted it." In his confession, Yezhov admitted to the standard litany of state crimes necessary to mark him as an "enemy of the people" prior to execution, including "wrecking", official incompetence, theft of government funds, and treasonous collaboration with German spies and saboteurs. Apart from these political crimes, he was also accused of and confessed to a humiliating history of sexual promiscuity, including homosexuality, rumors that were later deemed true by some post-Soviet examinations of the case. Trial On 2 February 1940, Yezhov was tried by the Military Collegium chaired by Soviet judge Vasili Ulrikh behind closed doors. Yezhov, like his predecessor Yagoda, maintained to the end his love for Stalin. Yezhov denied being a spy, a terrorist, or a conspirator, stating that he preferred "death to telling lies". He maintained that his previous confession had been obtained under torture, admitted that he purged 14,000 of his fellow Chekists, but said that he was surrounded by "enemies of the people". He also said that he would die with the name of Stalin on his lips. After the secret trial, Yezhov was allowed to return to his cell; half an hour later, he was called back and told that he had been condemned to death. On hearing the verdict, Yezhov became faint and began to collapse, but the guards caught him and removed him from the room. An immediate appeal for clemency was denied, and Yezhov became hysterical and wept. He soon had to be dragged out of the room, struggling with the guards and screaming. Execution On 4 February 1940, Yezhov was shot by the future KGB chairman Ivan Serov (or by Vasily Blokhin, in the presence of N. P. Afanasev, according to one book source) in the basement of a small NKVD station on Varsonofevskii Lane (Varsonofyevskiy pereulok) in Moscow. The basement had a sloping floor so that it could be hosed down after executions, and had been built according to Yezhov's own specifications near the Lubyanka. The main NKVD execution chamber in the basement of the Lubyanka was deliberately avoided to ensure total secrecy. Yezhov's body was immediately cremated and his ashes dumped in a common grave at Moscow's Donskoi Cemetery. The execution remained secret and as late as 1948, Time reported: "Some think he is still in an insane asylum". Legacy In Russia, Yezhov remains mostly known as the person who was responsible for atrocities of the Great Purge that he conducted on Stalin's orders. Among art historians, he also has the nickname "The Vanishing Commissar" because after his execution, his likeness was retouched out of an official press photo; he is among the best-known examples of the Soviet press making someone who had fallen out of favour "disappear". Due to his role in the Great Purge, Yezhov has not been officially rehabilitated by the Soviet and Russian authorities. Honors and awards Order of Lenin Order of the Red Banner (Mongolia) Badge of "Honorary Security Officer" A decree of the Presidium of the Supreme Soviet on 24 January 1941 deprived Yezhov of all state and special awards. See also Article 58 (RSFSR Penal Code) Bibliography of Stalinism and the Soviet Union Censorship of images in the Soviet Union Chronology of Soviet secret police agencies Everyday Stalinism: Ordinary Life in Extraordinary Times: Soviet Russia in the 1930s Stalin: Waiting for Hitler, 1929-1941, the second volume in an extensive three-volume biography of Joseph Stalin Stalin's Peasants: Resistance and Survival in the Russian Village after Collectivization Notes Cited works External links Nikita Petrov, Marc Jansen: Stalin's Loyal Executioner: People's Commissar Nikolai Ezhov, 1895-1940 (full text in PDF) Interrogations of Nikolai Ezhov, former People's Commissar for Internal Affairs "The Commissar Vanishes: The falsification of images in Stalin's Russia" at the Index on Censorship website (includes airbrushed images of the Vanishing Commissar) 1895 births 1940 deaths NKVD officers People from Saint Petersburg People from Sankt-Peterburgsky Uyezd LGBT people from Russia LGBT politicians from Russia Old Bolsheviks Politburo of the Central Committee of the Communist Party of the Soviet Union candidate members People's commissars and ministers of the Soviet Union First convocation members of the Verkhovna Rada of the Ukrainian Soviet Socialist Republic First convocation members of the Soviet of the Union Commissars General of State Security Genocide perpetrators Directors of intelligence agencies Russian communists Russian people executed by the Soviet Union Nonpersons in the Eastern Bloc Great Purge perpetrators Recipients of the Order of Lenin Executed Russian people Police misconduct Soviet show trials Burials at Donskoye Cemetery Politicide perpetrators Russian military personnel of World War I Soviet military personnel of the Russian Civil War	false	[ "Common rule awards are a particular form of industrial award used in Australia to regulate minimum terms and conditions of employment. Awards are the end product of the processes of conciliation and arbitration where an industrial tribunal makes an award in settlement of an industrial dispute. Whereas awards are legally binding on all parties to the dispute which are named in the award, with common rule awards all employers in the industry or occupation covered by the award are bound by it.\n\nCommon rule awards were standard in Australia's state industrial relations systems and covered hundreds of thousands of employees and employers. It has long been held that the Australian parliament's conciliation and arbitration power, did not permit common rule awards in the Federal industrial relations system.\n\nIn 2003 Victoria referred powers to the Commonwealth, to provide for the Australian Industrial Relations Commission to make common rule awards for Victoria. This followed the abolition of State awards in 1996 by the Victorian Government which stripped more than 350,000 Victorian employees of their award conditions. The question of referral disappeared with the establishment of a national regime of workplace relations through the Workplace Relations Amendment (Work Choices) Act 2005 (Cth), which did not rely on the Australian parliament's conciliation and arbitration power instead being primarily founded on the corporations power.\n\nWorkChoices was replaced by the Fair Work Act 2009, which was similarly founded on the corporations power and not the conciliation and arbitration power. In addition the Fair Work Act relied on a referral from most states under the referral power. The Fair Work Act established common rule awards called \"Modern Awards\" that are of general application and set out minimum terms and conditions for particular industries and occupations. there were 122 modern awards of general application.\n\nReferences\n\nAustralian labour law\nIndustrial agreements", "A home rule municipality in Pennsylvania is one incorporated under its own unique charter, created pursuant to the state's home rule and optional plans law and approved by referendum. \"Local governments without home rule can only act where specifically authorized by state law; home rule municipalities can act anywhere except where they are specifically limited by state law\". Although many such municipalities have retained the word \"Township\" or \"Borough\" in their official names, the Pennsylvania Township and Borough Codes no longer apply to them. All three types of municipalities (cities, boroughs, and townships) may become a home rule municipality.\n\nHistory of home rule in Pennsylvania \n\nWhen Pennsylvania was chartered in 1681, its proprietor William Penn was given the power to create counties, towns, and other municipalities, and the legislature was given sovereignty over them. \"Abuse of legislative interference in local matters in the nineteenth century led to prohibition of special and local laws in the Constitution of 1874\". Early in the 20th century, the concept of municipal home rule spread across the United States, and in 1922 the Pennsylvania Constitution was amended to give the legislature the right to grant cities the right to choose home rule. Philadelphia became the first home rule city of Pennsylvania in 1951. The Assembly further adopted the Optional Third Class City Charter Law in 1957, and in 1968, the new Constitution declared that \"Municipalities shall have the right and power to frame and adopt home rule charters.\" The new Home Rule Charter and Optional Plans Law, creating that right in the statutes of the Commonwealth, was passed in 1972.\n\nWhere to find charters \n\nHome rule charters are published in the Pennsylvania Code in titles numbered in the 300s, by county. However, Norristown's published charter in the Montgomery County title of the Pennsylvania code (specifically Title 346) is an obsolete version, as the revised version was never published in the code.\n\nSee also\nList of Pennsylvania municipalities and counties with home rule charters, optional charters, or optional plans\nPhiladelphia Home Rule Charter Reform Campaign\n\nReferences\n\nExternal links\n Pennsylvania Code\n\n \n[[Category:Local government in Pennsylvania" ]
[ "Nikolai Yezhov", "Fall from power", "how long was he in power before the fall from power?", "the possibility that in due course he could be removed from the leadership of the punitive apparatus and replaced by fresh people.", "where was he in power / where did he rule?", "too much power to be allowed to live. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on June 13, 1938," ]	C_81f15dce762c478592b147127b92a632_0	how old was he when he fell from power?	3	how old was Nikolai Yezhov when he fell from power?	Nikolai Yezhov	Yezhov was appointed People's Commissar for Water Transport on April 6, 1938. Though he retained his other posts, his role as grand inquisitor and extractor of confessions gradually diminished as Stalin retreated from the worst excesses of the Great Purge. By saddling him with the extra job, Stalin killed two birds with one stone: Yezhov could correct the water transportation situation with tough Chekist methods, and his transfer to the terra incognita of economic tasks would leave him less time for the NKVD and weaken his position there, thus creating the possibility that in due course he could be removed from the leadership of the punitive apparatus and replaced by fresh people. Contrary to Stalin's expectations, the vast number of party officials and military officers lost during Yezhov's purges had been only partially made good by replacement with trusted Stalinist functionaries, and he eventually recognized that the disruption was severely affecting the country's ability to coordinate industrial production and defend its borders from the growing threat of Nazi Germany. Yezhov had accomplished Stalin's intended task for the Great Purge: the public liquidation of the last of his Old Bolshevik political rivals and the elimination of any possibility of "disloyal elements" or "fifth columnists" within the Soviet military and government prior to the onset of war with Germany. From Stalin's perspective, Yezhov (like Yagoda) had served his purpose but had seen too much and wielded too much power to be allowed to live. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on June 13, 1938, rightly worried Yezhov, who had protected Lyushkov from the purges and feared he would be blamed. CANNOTANSWER	June 13, 1938, rightly worried Yezhov, who had protected Lyushkov from the purges and feared he would be blamed.	Nikolai Ivanovich Yezhov (; 1 May 1895 – 4 February 1940) was a Soviet secret police official under Joseph Stalin who was head of the NKVD from 1936 to 1938, during the height of the Great Purge. Yezhov organized mass arrests, torture and executions during the Great Purge, but he fell from Stalin's favour, was arrested and executed in 1940. Early life and career Yezhov was born either in Saint Petersburg, according to his official Soviet biography, or in southwest Lithuania (probably Veiveriai, Marijampolė or Kaunas). Although Yezhov claimed to be born in Saint Petersburg, then named Petrograd, hoping to "portray (himself) in the guise of a deeply-rooted proletarian", he confessed when interrogated that his father Ivan Yezhov came from a well-off Russian peasant family from the village of Volkhonshino. He worked as a musician, railroad switchman, forest warden, head of a brothel, and as a housepainting contractor employing a couple of hired workers. His mother Anna Antonovna Yezhova was Lithuanian. Despite writing in his official biographical forms that he knew Lithuanian and Polish, he denied this in his later interrogations. He completed only his elementary education. From 1909 to 1915, he worked as a tailor's assistant and factory worker. From 1915 until 1917, Yezhov served in the Imperial Russian Army. He joined the Bolsheviks on 5 May 1917, in Vitebsk, six months before the October Revolution. During the Russian Civil War (1917–1922), he fought in the Red Army. After February 1922, he worked in the political system, mostly as a secretary of various regional committees of the Communist Party. In 1927, he was transferred to the Accounting and Distribution Department of the Party where he worked as an instructor and acting head of the department. From 1929 to 1930, he was the Deputy People's Commissar for Agriculture. In November 1930, he was appointed to the Head of several departments of the Communist Party: department of special affairs, department of personnel and department of industry. In 1934, he was elected to the Central Committee of the Communist Party; in the next year he became a secretary of the Central Committee. From February 1935 to March 1939, he was also the Chairman of the Central Commission for Party Control. In the "Letter of an Old Bolshevik" (1936), written by Boris Nicolaevsky, there is Bukharin's description of Yezhov: Nadezhda Mandelstam, in contrast, who met Yezhov at Sukhum in the early thirties, did not perceive anything ominous in his manner or appearance; her impression of him was that of a "modest and rather agreeable person". Yezhov was short, standing , and that, combined with his perceived sadistic personality, led to his nickname "The Poison Dwarf" or "The Bloody Dwarf". Personal life Yezhov married a Marxist Antonina Titova in 1919, but he later divorced her and married (Khayutina-Yezhova), a Soviet publishing worker and Chief Editor of USSR in Construction magazine who was known for her friendship with many Soviet writers and actors. Yezhov and Feigenburg had an adopted daughter, Natalia, an orphan from a children's home. After Yevgenia's and Yezhov's deaths in late 1938 and 1940 respectively, Natalia was sent back to a local orphanage and was forced to relinquish the Yezhov surname. Subsequently, she was known by the name Natalia Khayutina. Accusation of homosexuality On 24 April 1939, Yezhov was accused of homosexual acts, which were usually accompanied by drunkenness. When Yezhov was arrested in 1939, he stated during his interrogation that he was the lover of Filipp Goloshchyokin, leader of the Kazakh ASSR, during the latter half of 1925, and that they had shared an apartment in Kzyl-Orda. Head of the NKVD A turning point for Yezhov came with Stalin's response to the 1934 murder of the Bolshevik chief of Leningrad, Sergei Kirov. Stalin used the murder as a pretext for further purges and he chose Yezhov to carry out the task. Yezhov oversaw falsified accusations in the Kirov murder case against opposition leaders Kamenev, Zinoviev and their supporters. Yezhov's success in this task led to his further promotion and ultimately to his appointment as head of the NKVD. He became People's Commissar for Internal Affairs (head of the NKVD) and a member of the Central Committee on 26 September 1936, following the dismissal of Genrikh Yagoda. This appointment did not at first seem to suggest an intensification of the purge: "Unlike Yagoda, Yezhov did not come out of the 'organs', which was considered an advantage". Party leadership revocation and executions of those found guilty during the Moscow Trials was not a problem for Yezhov. Seeming to be a devout admirer of Stalin and not a member of the organs of state security, Yezhov was just the man Stalin needed to lead the NKVD and rid the government of potential opponents. Yezhov's first task from Stalin was to personally investigate and conduct prosecution of his long-time Chekist mentor Yagoda, which he did with remorseless zeal. Yezhov ordered the NKVD to sprinkle mercury on the curtains of his office so that the physical evidence could be collected and used to support the charge that Yagoda was a German spy, sent to assassinate Yezhov and Stalin with poison and restore capitalism. Yezhov later admitted under a interrogation on 5 May 1939 that he had fabricated the mercury poisoning to "raise his authority in the eyes of the leadership of the country". It is also claimed that he personally tortured both Yagoda and Marshal Mikhail Tukhachevsky to extract their confessions. Yagoda was but the first of many to die by Yezhov's orders. Under Yezhov, the Great Purge reached its height during 1937–1938. 50–75% of the members of the Supreme Soviet and officers of the Soviet military were stripped of their positions and imprisoned, exiled to the Gulags in Siberia or executed. In addition, a much greater number of ordinary Soviet citizens were accused (usually on flimsy or nonexistent evidence) of disloyalty or "wrecking" by local Chekist troikas and similarly punished to fill Stalin and Yezhov's arbitrary quotas for arrests and executions. Yezhov also conducted a thorough purge of the security organs, both NKVD and GRU, removing and executing not only many officials who had been appointed by his predecessors Yagoda and Menzhinsky, but even his own appointees as well. He admitted that innocents were being falsely accused, but dismissed their lives as unimportant so long as the purge was successful: In 1937 and 1938 alone, at least 1.3 million were arrested and 681,692 were shot for 'crimes against the state'. The Gulag population swelled by 685,201 under Yezhov, nearly tripling in size in just two years, with at least 140,000 of these prisoners (and likely many more) dying of malnutrition, exhaustion and the elements in the camps (or during transport to them). Fall from power Yezhov was appointed People's Commissar for Water Transport on 6 April 1938. During the Great Purge, acting on the orders from Stalin, he had accomplished liquidation of Old Bolsheviks and other potentially "disloyal elements" or "fifth columnists" within the Soviet military and government prior to the onset of war with Germany. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on 13 June 1938, for the right reasons worried Yezhov, who had earlier protected Lyushkov from the purges and now feared that he would be blamed for disloyalty. Final days On 22 August 1938, NKVD leader Lavrenty Beria was named as Yezhov's deputy. Beria had managed to survive the Great Purge and the "Yezhovshchina" during the years 1936–1938, even though he had almost become one of its victims. Earlier in 1938, Yezhov had even ordered the arrest of Beria, who was party chief in Georgia. However, Georgian NKVD chief Sergei Goglidze warned Beria, who immediately flew to Moscow to see Stalin personally. Beria convinced Stalin to spare his life and reminded Stalin how efficiently he had carried out party orders in Georgia and Transcaucasia. In a twist of fate, it was Yezhov who eventually fell in the struggle for power, and Beria who became the new NKVD chief. Over the following months, Beria (with Stalin's approval) began increasingly to usurp Yezhov's governance of the Commissariat for Internal Affairs. As early as 8 September, Mikhail Frinovsky, Yezhov's first deputy, was relocated from under his command into the Navy. Stalin's penchant for periodically executing and replacing his primary lieutenants was well known to Yezhov, as he had previously been the man most directly responsible for orchestrating such actions. Well acquainted with typical Stalinist bureaucratic precursors to eventual dismissal and arrest, Yezhov recognized Beria's increasing influence with Stalin as a sign that his downfall was imminent, and he plunged headlong into alcoholism and despair. Already a heavy drinker, in the last weeks of his service, he reportedly was disconsolate, slovenly, and drunk nearly all of his waking hours, rarely bothering to show up to work. As anticipated, Stalin and Vyacheslav Molotov, in a report dated November 11, sharply criticised the work and methods of the NKVD during Yezhov's tenure as chief, thus establishing the bureaucratic pretense necessary to remove him from power. On 14 November, another of Yezhov’s protégés, the Ukrainian NKVD chief Alexander Uspensky, disappeared after being warned by Yezhov that he was in trouble. Stalin suspected that Yezhov was involved in the disappearance and told Beria, not Yezhov, that Uspensky must be caught (he was arrested on 14 April 1939). Yezhov had told his wife, Yevgenia, on 18 September that he wanted a divorce, and she had begun writing increasingly despairing letters to Stalin, none of which was answered. She was particularly vulnerable because of her many lovers, and for months people close to her were being arrested. On 19 November 1938, Yevgenia committed suicide by taking an overdose of sleeping pills. At his own request, Yezhov was officially relieved of his post as the People's Commissar for Internal Affairs on 25 November, succeeded by Beria, who had been in complete control of the NKVD since the departure of Frinovsky on 8 September. He attended his last Politburo meeting on 29 January 1939. Stalin was evidently content to ignore Yezhov for several months, finally ordering Beria to denounce him at the annual Presidium of the Supreme Soviet. On 3 March 1939, Yezhov was relieved of all his posts in the Central Committee, but retained his post as People's Commissar of Water Transportation. His last working day was 9 April at which time the "People’s Commissariat was simply abolished by splitting it into two, the People’s Commissariats of the River Fleet and the Sea Fleet, with two new People’s Commissars, Z. A. Shashkov and S. S. Dukel’skii." Arrest On 10 April, Yezhov was arrested and imprisoned at the Sukhanovka prison; the "arrest was painstakingly concealed, not only from the general public but also from most NKVD officers... It would not do to make a fuss about the arrest of 'the leader’s favourite,' and Stalin had no desire to arouse public interest in NKVD activity and the circumstances of the conduct of the Great Terror." A letter from Beria, Andreev and Malenkov to Stalin, dated 29 January 1939, accused the NKVD of allowing "massive, unfounded arrests of completely innocent persons", and stated that the leadership of Yezhov "did not put a stop to this kind of arbitrariness and extremism...but sometimes itself abetted it." In his confession, Yezhov admitted to the standard litany of state crimes necessary to mark him as an "enemy of the people" prior to execution, including "wrecking", official incompetence, theft of government funds, and treasonous collaboration with German spies and saboteurs. Apart from these political crimes, he was also accused of and confessed to a humiliating history of sexual promiscuity, including homosexuality, rumors that were later deemed true by some post-Soviet examinations of the case. Trial On 2 February 1940, Yezhov was tried by the Military Collegium chaired by Soviet judge Vasili Ulrikh behind closed doors. Yezhov, like his predecessor Yagoda, maintained to the end his love for Stalin. Yezhov denied being a spy, a terrorist, or a conspirator, stating that he preferred "death to telling lies". He maintained that his previous confession had been obtained under torture, admitted that he purged 14,000 of his fellow Chekists, but said that he was surrounded by "enemies of the people". He also said that he would die with the name of Stalin on his lips. After the secret trial, Yezhov was allowed to return to his cell; half an hour later, he was called back and told that he had been condemned to death. On hearing the verdict, Yezhov became faint and began to collapse, but the guards caught him and removed him from the room. An immediate appeal for clemency was denied, and Yezhov became hysterical and wept. He soon had to be dragged out of the room, struggling with the guards and screaming. Execution On 4 February 1940, Yezhov was shot by the future KGB chairman Ivan Serov (or by Vasily Blokhin, in the presence of N. P. Afanasev, according to one book source) in the basement of a small NKVD station on Varsonofevskii Lane (Varsonofyevskiy pereulok) in Moscow. The basement had a sloping floor so that it could be hosed down after executions, and had been built according to Yezhov's own specifications near the Lubyanka. The main NKVD execution chamber in the basement of the Lubyanka was deliberately avoided to ensure total secrecy. Yezhov's body was immediately cremated and his ashes dumped in a common grave at Moscow's Donskoi Cemetery. The execution remained secret and as late as 1948, Time reported: "Some think he is still in an insane asylum". Legacy In Russia, Yezhov remains mostly known as the person who was responsible for atrocities of the Great Purge that he conducted on Stalin's orders. Among art historians, he also has the nickname "The Vanishing Commissar" because after his execution, his likeness was retouched out of an official press photo; he is among the best-known examples of the Soviet press making someone who had fallen out of favour "disappear". Due to his role in the Great Purge, Yezhov has not been officially rehabilitated by the Soviet and Russian authorities. Honors and awards Order of Lenin Order of the Red Banner (Mongolia) Badge of "Honorary Security Officer" A decree of the Presidium of the Supreme Soviet on 24 January 1941 deprived Yezhov of all state and special awards. See also Article 58 (RSFSR Penal Code) Bibliography of Stalinism and the Soviet Union Censorship of images in the Soviet Union Chronology of Soviet secret police agencies Everyday Stalinism: Ordinary Life in Extraordinary Times: Soviet Russia in the 1930s Stalin: Waiting for Hitler, 1929-1941, the second volume in an extensive three-volume biography of Joseph Stalin Stalin's Peasants: Resistance and Survival in the Russian Village after Collectivization Notes Cited works External links Nikita Petrov, Marc Jansen: Stalin's Loyal Executioner: People's Commissar Nikolai Ezhov, 1895-1940 (full text in PDF) Interrogations of Nikolai Ezhov, former People's Commissar for Internal Affairs "The Commissar Vanishes: The falsification of images in Stalin's Russia" at the Index on Censorship website (includes airbrushed images of the Vanishing Commissar) 1895 births 1940 deaths NKVD officers People from Saint Petersburg People from Sankt-Peterburgsky Uyezd LGBT people from Russia LGBT politicians from Russia Old Bolsheviks Politburo of the Central Committee of the Communist Party of the Soviet Union candidate members People's commissars and ministers of the Soviet Union First convocation members of the Verkhovna Rada of the Ukrainian Soviet Socialist Republic First convocation members of the Soviet of the Union Commissars General of State Security Genocide perpetrators Directors of intelligence agencies Russian communists Russian people executed by the Soviet Union Nonpersons in the Eastern Bloc Great Purge perpetrators Recipients of the Order of Lenin Executed Russian people Police misconduct Soviet show trials Burials at Donskoye Cemetery Politicide perpetrators Russian military personnel of World War I Soviet military personnel of the Russian Civil War	false	[ "The 8th Politburo of the Chinese Communist Party was elected at the 1st Plenary Session of the 8th Central Committee on September 28, 1956, consisting of 17 members and 6 alternate members. This Politburo was preceded by the 7th Politburo of the Chinese Communist Party. \n\nThere were additions to the membership in 1958 and 1966. During the Cultural Revolution, many members and alternate members fell from power, and the Politburo ceased to function between March, 1967 and April, 1969. This was because of continuously high cultural tension. \n\nOnce this settled down, the 9th Politburo of the Chinese Communist Party firmly met in a congressional plenum.\n\nMembers (17)\nMao Zedong, Chairman of the Party Central Committee and member of the Politburo Standing Committee\nLiu Shaoqi, Vice Chairman of the Party Central Committee until August, 1966; member of the Politburo Standing Committee (fell from power in January, 1967; dismissed in October, 1968)\nZhou Enlai, Vice Chairman of the Party Central Committee until August, 1966; member of the Politburo Standing Committee\nZhu De, Vice Chairman of the Party Central Committee until August, 1966; member of the Politburo Standing Committee\nChen Yun, Vice Chairman of the Party Central Committee until August, 1966; member of the Politburo Standing Committee\nDeng Xiaoping, General Secretay of the Party Central Committee until August, 1966; member of the Politburo Standing Committee (fell from power in January, 1967)\nLin Biao, elected Vice Chairman of the Party Central Committee and member of the Politburo Standing Committee in May, 1958\nLin Boqu (died in May, 1960)\nDong Biwu\nPeng Zhen (fell from power in May, 1966)\nLuo Ronghuan (died in December, 1963) \nChen Yi\nLi Fuchun, elected member of the Politburo Standing Committee in August, 1966\nPeng Dehuai (fell from power in August, 1959)\nLiu Bocheng\nHe Long (fell from power in September, 1967)\nLi Xiannian\n\nAlternate members (6)\nUlanhu (fell from power in August 1966)\nZhang Wentian (fell from power in August 1959)\nLu Dingyi (fell from power in May 1966)\nChen Boda (until August 1966, when he became a full member and a member of the standing committee)\nKang Sheng (until August 1966, when he became a full member and a member of the standing committee)\nBo Yibo (fell from power in January 1967)\n\nMember elected in May, 1958 (3)\nat the 5th Plenary Session of the 8th Central Committee:\nKe Qingshi (died in April, 1965)\nLi Jingquan (fell from power in January, 1967)\nTan Zhenlin (fell from power in August, 1967)\n\nMembers elected in August, 1966 (6)\nat the 11th Plenary Session of the 8th Central Committee:\nTao Zhu, elected at the same time member of the Politburo Standing Committee (fell from power in January, 1967)\nChen Boda, elected at the same time member of the Politburo Standing Committee (previously alternate member)\nKang Sheng, elected at the same time member of the Politburo Standing Committee (previously alternate member)\nXu Xiangqian\nNie Rongzhen\nYe Jianying\n\nAlternate members elected in August, 1966 (3)\nat the 11th Plenary Session of the 8th Central Committee:\nLi Xuefeng\nXie Fuzhi\nSong Renqiong (fell from power in August, 1967)\n\nReferences\n\nExternal links \n Gazette of the 1st Session of the 8th CCP Central Committee\n\nPolitburo of the Chinese Communist Party\n1956 in China", "Storm Malik was an extratropical cyclone that was part of the 2021–22 European windstorm season. It was named by the Danish Meteorological Institute in Denmark on January 28, and lasted until January 30. It caused 2958 severe wind reports and over 800,000 power outages in multiple countries. Seven people died.\n\nMeteorological history \nOn 28 January, Storm Malik was named by the Danish Meteorological Institute, after the Greenlandic name that also means \"wave\". In Finland and Germany, which are not part of the storm naming groups, it was named Valtteri by the Finnish Meteorological Institute, while the Free University of Berlin named the same system as Nadia. The storm lasted until January 30, after which it dissipated.\n\nImpacts \nThe impact from the storm ranged from mild to severe throughout most of the continent.\n\nFatalities \nTwo fatalities were reported in the United Kingdom due to Storm Malik: a 60-year old woman in Aberdeen, Scotland and a 9-year old boy in Staffordshire, England. Both were hit by falling trees. In Denmark, a 78-year old woman died from injuries sustained when a door she opened was caught by the wind and she fell. In Germany, a person in Beelitz was killed when hit by a poster that had come loose and in Poland a person was killed when a tree fell on a moving car in Wejherowo County. In the Czech Republic, a worker died after being buried by a wall.\n\nInjuries \nTwo teenagers were injured in the southern Swedish region of Scania when their car was hit by a falling tree. A child was injured when a tree crashed through the roof in Charlottenlund, Denmark, while west of Esbjerg, a moving car was hit by a large branch, resulting in 3 injuries. In Poland, a driver was injured when she drove into a downed tree near Kierzkowo, while in Tłuczewo, a person sustained arm injuries. In Germany, a man was injured by a falling tree in a park, in Bremen.\n\nDamage \nMore than 680,000 people were left without power in Poland by the storm and in the United Kingdom around 130,000 lost power. In Sweden around 40,000 households lost power, mostly in the south.\n\nSweden \nIn the city of Malmö, many facade panels from the Turning Torso building fell. In the Västra Hamnen (The West Harbour) area a crane from a construction site got overturned and landed close to a bus stop full of people. A second crane got overturned in the city of Malmö and landed on parked cars. Another crane got overturned in the city of Södertälje south of Stockholm and landed on a hospital but only caused slight damage to windows in the ICU section. Many trees fell throughout southern Sweden. Many trees also fell in Norrtälje, a town north of Stockholm which was hit by another similar storm back in January 2019 called Alfrida.\n\nLithuania \nThe storm caused damage to the Lithuanian coast as well, with local authorities calling it the \"worst storm since Cyclone Anatol in 1999\". The storm reached winds of 93 km/h (58 mph; 50 kn) with gusts of 125 km/h (78 mph; 68 kn). Infrastructure and protective dunes along the Curonian Spit were considerably damaged by the storm.\n\nAftermath \n\nThe damage in the United Kingdom and Ireland by Malik was worsened by Storm Corrie, which started affecting the two countries on January 29. The following storm resulted in 118,000 power outages in Scotland, and more overall damage.\n\nSee also\nWeather of 2022\n2021–22 European windstorm season\n\nReferences\n\nExternal links \n\n2022 meteorology\nJanuary 2022 events in the United Kingdom\n2022 disasters in the United Kingdom\nJanuary 2022 events in Europe\nEuropean windstorms" ]
[ "Nikolai Yezhov", "Fall from power", "how long was he in power before the fall from power?", "the possibility that in due course he could be removed from the leadership of the punitive apparatus and replaced by fresh people.", "where was he in power / where did he rule?", "too much power to be allowed to live. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on June 13, 1938,", "how old was he when he fell from power?", "June 13, 1938, rightly worried Yezhov, who had protected Lyushkov from the purges and feared he would be blamed." ]	C_81f15dce762c478592b147127b92a632_0	were people happy that he fell from power?	4	were people happy that Nikolai Yezhov fell from power?	Nikolai Yezhov	Yezhov was appointed People's Commissar for Water Transport on April 6, 1938. Though he retained his other posts, his role as grand inquisitor and extractor of confessions gradually diminished as Stalin retreated from the worst excesses of the Great Purge. By saddling him with the extra job, Stalin killed two birds with one stone: Yezhov could correct the water transportation situation with tough Chekist methods, and his transfer to the terra incognita of economic tasks would leave him less time for the NKVD and weaken his position there, thus creating the possibility that in due course he could be removed from the leadership of the punitive apparatus and replaced by fresh people. Contrary to Stalin's expectations, the vast number of party officials and military officers lost during Yezhov's purges had been only partially made good by replacement with trusted Stalinist functionaries, and he eventually recognized that the disruption was severely affecting the country's ability to coordinate industrial production and defend its borders from the growing threat of Nazi Germany. Yezhov had accomplished Stalin's intended task for the Great Purge: the public liquidation of the last of his Old Bolshevik political rivals and the elimination of any possibility of "disloyal elements" or "fifth columnists" within the Soviet military and government prior to the onset of war with Germany. From Stalin's perspective, Yezhov (like Yagoda) had served his purpose but had seen too much and wielded too much power to be allowed to live. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on June 13, 1938, rightly worried Yezhov, who had protected Lyushkov from the purges and feared he would be blamed. CANNOTANSWER	who had protected Lyushkov from the purges and feared he would be blamed.	Nikolai Ivanovich Yezhov (; 1 May 1895 – 4 February 1940) was a Soviet secret police official under Joseph Stalin who was head of the NKVD from 1936 to 1938, during the height of the Great Purge. Yezhov organized mass arrests, torture and executions during the Great Purge, but he fell from Stalin's favour, was arrested and executed in 1940. Early life and career Yezhov was born either in Saint Petersburg, according to his official Soviet biography, or in southwest Lithuania (probably Veiveriai, Marijampolė or Kaunas). Although Yezhov claimed to be born in Saint Petersburg, then named Petrograd, hoping to "portray (himself) in the guise of a deeply-rooted proletarian", he confessed when interrogated that his father Ivan Yezhov came from a well-off Russian peasant family from the village of Volkhonshino. He worked as a musician, railroad switchman, forest warden, head of a brothel, and as a housepainting contractor employing a couple of hired workers. His mother Anna Antonovna Yezhova was Lithuanian. Despite writing in his official biographical forms that he knew Lithuanian and Polish, he denied this in his later interrogations. He completed only his elementary education. From 1909 to 1915, he worked as a tailor's assistant and factory worker. From 1915 until 1917, Yezhov served in the Imperial Russian Army. He joined the Bolsheviks on 5 May 1917, in Vitebsk, six months before the October Revolution. During the Russian Civil War (1917–1922), he fought in the Red Army. After February 1922, he worked in the political system, mostly as a secretary of various regional committees of the Communist Party. In 1927, he was transferred to the Accounting and Distribution Department of the Party where he worked as an instructor and acting head of the department. From 1929 to 1930, he was the Deputy People's Commissar for Agriculture. In November 1930, he was appointed to the Head of several departments of the Communist Party: department of special affairs, department of personnel and department of industry. In 1934, he was elected to the Central Committee of the Communist Party; in the next year he became a secretary of the Central Committee. From February 1935 to March 1939, he was also the Chairman of the Central Commission for Party Control. In the "Letter of an Old Bolshevik" (1936), written by Boris Nicolaevsky, there is Bukharin's description of Yezhov: Nadezhda Mandelstam, in contrast, who met Yezhov at Sukhum in the early thirties, did not perceive anything ominous in his manner or appearance; her impression of him was that of a "modest and rather agreeable person". Yezhov was short, standing , and that, combined with his perceived sadistic personality, led to his nickname "The Poison Dwarf" or "The Bloody Dwarf". Personal life Yezhov married a Marxist Antonina Titova in 1919, but he later divorced her and married (Khayutina-Yezhova), a Soviet publishing worker and Chief Editor of USSR in Construction magazine who was known for her friendship with many Soviet writers and actors. Yezhov and Feigenburg had an adopted daughter, Natalia, an orphan from a children's home. After Yevgenia's and Yezhov's deaths in late 1938 and 1940 respectively, Natalia was sent back to a local orphanage and was forced to relinquish the Yezhov surname. Subsequently, she was known by the name Natalia Khayutina. Accusation of homosexuality On 24 April 1939, Yezhov was accused of homosexual acts, which were usually accompanied by drunkenness. When Yezhov was arrested in 1939, he stated during his interrogation that he was the lover of Filipp Goloshchyokin, leader of the Kazakh ASSR, during the latter half of 1925, and that they had shared an apartment in Kzyl-Orda. Head of the NKVD A turning point for Yezhov came with Stalin's response to the 1934 murder of the Bolshevik chief of Leningrad, Sergei Kirov. Stalin used the murder as a pretext for further purges and he chose Yezhov to carry out the task. Yezhov oversaw falsified accusations in the Kirov murder case against opposition leaders Kamenev, Zinoviev and their supporters. Yezhov's success in this task led to his further promotion and ultimately to his appointment as head of the NKVD. He became People's Commissar for Internal Affairs (head of the NKVD) and a member of the Central Committee on 26 September 1936, following the dismissal of Genrikh Yagoda. This appointment did not at first seem to suggest an intensification of the purge: "Unlike Yagoda, Yezhov did not come out of the 'organs', which was considered an advantage". Party leadership revocation and executions of those found guilty during the Moscow Trials was not a problem for Yezhov. Seeming to be a devout admirer of Stalin and not a member of the organs of state security, Yezhov was just the man Stalin needed to lead the NKVD and rid the government of potential opponents. Yezhov's first task from Stalin was to personally investigate and conduct prosecution of his long-time Chekist mentor Yagoda, which he did with remorseless zeal. Yezhov ordered the NKVD to sprinkle mercury on the curtains of his office so that the physical evidence could be collected and used to support the charge that Yagoda was a German spy, sent to assassinate Yezhov and Stalin with poison and restore capitalism. Yezhov later admitted under a interrogation on 5 May 1939 that he had fabricated the mercury poisoning to "raise his authority in the eyes of the leadership of the country". It is also claimed that he personally tortured both Yagoda and Marshal Mikhail Tukhachevsky to extract their confessions. Yagoda was but the first of many to die by Yezhov's orders. Under Yezhov, the Great Purge reached its height during 1937–1938. 50–75% of the members of the Supreme Soviet and officers of the Soviet military were stripped of their positions and imprisoned, exiled to the Gulags in Siberia or executed. In addition, a much greater number of ordinary Soviet citizens were accused (usually on flimsy or nonexistent evidence) of disloyalty or "wrecking" by local Chekist troikas and similarly punished to fill Stalin and Yezhov's arbitrary quotas for arrests and executions. Yezhov also conducted a thorough purge of the security organs, both NKVD and GRU, removing and executing not only many officials who had been appointed by his predecessors Yagoda and Menzhinsky, but even his own appointees as well. He admitted that innocents were being falsely accused, but dismissed their lives as unimportant so long as the purge was successful: In 1937 and 1938 alone, at least 1.3 million were arrested and 681,692 were shot for 'crimes against the state'. The Gulag population swelled by 685,201 under Yezhov, nearly tripling in size in just two years, with at least 140,000 of these prisoners (and likely many more) dying of malnutrition, exhaustion and the elements in the camps (or during transport to them). Fall from power Yezhov was appointed People's Commissar for Water Transport on 6 April 1938. During the Great Purge, acting on the orders from Stalin, he had accomplished liquidation of Old Bolsheviks and other potentially "disloyal elements" or "fifth columnists" within the Soviet military and government prior to the onset of war with Germany. The defection to Japan of the Far Eastern NKVD chief, Genrikh Lyushkov on 13 June 1938, for the right reasons worried Yezhov, who had earlier protected Lyushkov from the purges and now feared that he would be blamed for disloyalty. Final days On 22 August 1938, NKVD leader Lavrenty Beria was named as Yezhov's deputy. Beria had managed to survive the Great Purge and the "Yezhovshchina" during the years 1936–1938, even though he had almost become one of its victims. Earlier in 1938, Yezhov had even ordered the arrest of Beria, who was party chief in Georgia. However, Georgian NKVD chief Sergei Goglidze warned Beria, who immediately flew to Moscow to see Stalin personally. Beria convinced Stalin to spare his life and reminded Stalin how efficiently he had carried out party orders in Georgia and Transcaucasia. In a twist of fate, it was Yezhov who eventually fell in the struggle for power, and Beria who became the new NKVD chief. Over the following months, Beria (with Stalin's approval) began increasingly to usurp Yezhov's governance of the Commissariat for Internal Affairs. As early as 8 September, Mikhail Frinovsky, Yezhov's first deputy, was relocated from under his command into the Navy. Stalin's penchant for periodically executing and replacing his primary lieutenants was well known to Yezhov, as he had previously been the man most directly responsible for orchestrating such actions. Well acquainted with typical Stalinist bureaucratic precursors to eventual dismissal and arrest, Yezhov recognized Beria's increasing influence with Stalin as a sign that his downfall was imminent, and he plunged headlong into alcoholism and despair. Already a heavy drinker, in the last weeks of his service, he reportedly was disconsolate, slovenly, and drunk nearly all of his waking hours, rarely bothering to show up to work. As anticipated, Stalin and Vyacheslav Molotov, in a report dated November 11, sharply criticised the work and methods of the NKVD during Yezhov's tenure as chief, thus establishing the bureaucratic pretense necessary to remove him from power. On 14 November, another of Yezhov’s protégés, the Ukrainian NKVD chief Alexander Uspensky, disappeared after being warned by Yezhov that he was in trouble. Stalin suspected that Yezhov was involved in the disappearance and told Beria, not Yezhov, that Uspensky must be caught (he was arrested on 14 April 1939). Yezhov had told his wife, Yevgenia, on 18 September that he wanted a divorce, and she had begun writing increasingly despairing letters to Stalin, none of which was answered. She was particularly vulnerable because of her many lovers, and for months people close to her were being arrested. On 19 November 1938, Yevgenia committed suicide by taking an overdose of sleeping pills. At his own request, Yezhov was officially relieved of his post as the People's Commissar for Internal Affairs on 25 November, succeeded by Beria, who had been in complete control of the NKVD since the departure of Frinovsky on 8 September. He attended his last Politburo meeting on 29 January 1939. Stalin was evidently content to ignore Yezhov for several months, finally ordering Beria to denounce him at the annual Presidium of the Supreme Soviet. On 3 March 1939, Yezhov was relieved of all his posts in the Central Committee, but retained his post as People's Commissar of Water Transportation. His last working day was 9 April at which time the "People’s Commissariat was simply abolished by splitting it into two, the People’s Commissariats of the River Fleet and the Sea Fleet, with two new People’s Commissars, Z. A. Shashkov and S. S. Dukel’skii." Arrest On 10 April, Yezhov was arrested and imprisoned at the Sukhanovka prison; the "arrest was painstakingly concealed, not only from the general public but also from most NKVD officers... It would not do to make a fuss about the arrest of 'the leader’s favourite,' and Stalin had no desire to arouse public interest in NKVD activity and the circumstances of the conduct of the Great Terror." A letter from Beria, Andreev and Malenkov to Stalin, dated 29 January 1939, accused the NKVD of allowing "massive, unfounded arrests of completely innocent persons", and stated that the leadership of Yezhov "did not put a stop to this kind of arbitrariness and extremism...but sometimes itself abetted it." In his confession, Yezhov admitted to the standard litany of state crimes necessary to mark him as an "enemy of the people" prior to execution, including "wrecking", official incompetence, theft of government funds, and treasonous collaboration with German spies and saboteurs. Apart from these political crimes, he was also accused of and confessed to a humiliating history of sexual promiscuity, including homosexuality, rumors that were later deemed true by some post-Soviet examinations of the case. Trial On 2 February 1940, Yezhov was tried by the Military Collegium chaired by Soviet judge Vasili Ulrikh behind closed doors. Yezhov, like his predecessor Yagoda, maintained to the end his love for Stalin. Yezhov denied being a spy, a terrorist, or a conspirator, stating that he preferred "death to telling lies". He maintained that his previous confession had been obtained under torture, admitted that he purged 14,000 of his fellow Chekists, but said that he was surrounded by "enemies of the people". He also said that he would die with the name of Stalin on his lips. After the secret trial, Yezhov was allowed to return to his cell; half an hour later, he was called back and told that he had been condemned to death. On hearing the verdict, Yezhov became faint and began to collapse, but the guards caught him and removed him from the room. An immediate appeal for clemency was denied, and Yezhov became hysterical and wept. He soon had to be dragged out of the room, struggling with the guards and screaming. Execution On 4 February 1940, Yezhov was shot by the future KGB chairman Ivan Serov (or by Vasily Blokhin, in the presence of N. P. Afanasev, according to one book source) in the basement of a small NKVD station on Varsonofevskii Lane (Varsonofyevskiy pereulok) in Moscow. The basement had a sloping floor so that it could be hosed down after executions, and had been built according to Yezhov's own specifications near the Lubyanka. The main NKVD execution chamber in the basement of the Lubyanka was deliberately avoided to ensure total secrecy. Yezhov's body was immediately cremated and his ashes dumped in a common grave at Moscow's Donskoi Cemetery. The execution remained secret and as late as 1948, Time reported: "Some think he is still in an insane asylum". Legacy In Russia, Yezhov remains mostly known as the person who was responsible for atrocities of the Great Purge that he conducted on Stalin's orders. Among art historians, he also has the nickname "The Vanishing Commissar" because after his execution, his likeness was retouched out of an official press photo; he is among the best-known examples of the Soviet press making someone who had fallen out of favour "disappear". Due to his role in the Great Purge, Yezhov has not been officially rehabilitated by the Soviet and Russian authorities. Honors and awards Order of Lenin Order of the Red Banner (Mongolia) Badge of "Honorary Security Officer" A decree of the Presidium of the Supreme Soviet on 24 January 1941 deprived Yezhov of all state and special awards. See also Article 58 (RSFSR Penal Code) Bibliography of Stalinism and the Soviet Union Censorship of images in the Soviet Union Chronology of Soviet secret police agencies Everyday Stalinism: Ordinary Life in Extraordinary Times: Soviet Russia in the 1930s Stalin: Waiting for Hitler, 1929-1941, the second volume in an extensive three-volume biography of Joseph Stalin Stalin's Peasants: Resistance and Survival in the Russian Village after Collectivization Notes Cited works External links Nikita Petrov, Marc Jansen: Stalin's Loyal Executioner: People's Commissar Nikolai Ezhov, 1895-1940 (full text in PDF) Interrogations of Nikolai Ezhov, former People's Commissar for Internal Affairs "The Commissar Vanishes: The falsification of images in Stalin's Russia" at the Index on Censorship website (includes airbrushed images of the Vanishing Commissar) 1895 births 1940 deaths NKVD officers People from Saint Petersburg People from Sankt-Peterburgsky Uyezd LGBT people from Russia LGBT politicians from Russia Old Bolsheviks Politburo of the Central Committee of the Communist Party of the Soviet Union candidate members People's commissars and ministers of the Soviet Union First convocation members of the Verkhovna Rada of the Ukrainian Soviet Socialist Republic First convocation members of the Soviet of the Union Commissars General of State Security Genocide perpetrators Directors of intelligence agencies Russian communists Russian people executed by the Soviet Union Nonpersons in the Eastern Bloc Great Purge perpetrators Recipients of the Order of Lenin Executed Russian people Police misconduct Soviet show trials Burials at Donskoye Cemetery Politicide perpetrators Russian military personnel of World War I Soviet military personnel of the Russian Civil War	false	[ "The 8th Politburo of the Chinese Communist Party was elected at the 1st Plenary Session of the 8th Central Committee on September 28, 1956, consisting of 17 members and 6 alternate members. This Politburo was preceded by the 7th Politburo of the Chinese Communist Party. \n\nThere were additions to the membership in 1958 and 1966. During the Cultural Revolution, many members and alternate members fell from power, and the Politburo ceased to function between March, 1967 and April, 1969. This was because of continuously high cultural tension. \n\nOnce this settled down, the 9th Politburo of the Chinese Communist Party firmly met in a congressional plenum.\n\nMembers (17)\nMao Zedong, Chairman of the Party Central Committee and member of the Politburo Standing Committee\nLiu Shaoqi, Vice Chairman of the Party Central Committee until August, 1966; member of the Politburo Standing Committee (fell from power in January, 1967; dismissed in October, 1968)\nZhou Enlai, Vice Chairman of the Party Central Committee until August, 1966; member of the Politburo Standing Committee\nZhu De, Vice Chairman of the Party Central Committee until August, 1966; member of the Politburo Standing Committee\nChen Yun, Vice Chairman of the Party Central Committee until August, 1966; member of the Politburo Standing Committee\nDeng Xiaoping, General Secretay of the Party Central Committee until August, 1966; member of the Politburo Standing Committee (fell from power in January, 1967)\nLin Biao, elected Vice Chairman of the Party Central Committee and member of the Politburo Standing Committee in May, 1958\nLin Boqu (died in May, 1960)\nDong Biwu\nPeng Zhen (fell from power in May, 1966)\nLuo Ronghuan (died in December, 1963) \nChen Yi\nLi Fuchun, elected member of the Politburo Standing Committee in August, 1966\nPeng Dehuai (fell from power in August, 1959)\nLiu Bocheng\nHe Long (fell from power in September, 1967)\nLi Xiannian\n\nAlternate members (6)\nUlanhu (fell from power in August 1966)\nZhang Wentian (fell from power in August 1959)\nLu Dingyi (fell from power in May 1966)\nChen Boda (until August 1966, when he became a full member and a member of the standing committee)\nKang Sheng (until August 1966, when he became a full member and a member of the standing committee)\nBo Yibo (fell from power in January 1967)\n\nMember elected in May, 1958 (3)\nat the 5th Plenary Session of the 8th Central Committee:\nKe Qingshi (died in April, 1965)\nLi Jingquan (fell from power in January, 1967)\nTan Zhenlin (fell from power in August, 1967)\n\nMembers elected in August, 1966 (6)\nat the 11th Plenary Session of the 8th Central Committee:\nTao Zhu, elected at the same time member of the Politburo Standing Committee (fell from power in January, 1967)\nChen Boda, elected at the same time member of the Politburo Standing Committee (previously alternate member)\nKang Sheng, elected at the same time member of the Politburo Standing Committee (previously alternate member)\nXu Xiangqian\nNie Rongzhen\nYe Jianying\n\nAlternate members elected in August, 1966 (3)\nat the 11th Plenary Session of the 8th Central Committee:\nLi Xuefeng\nXie Fuzhi\nSong Renqiong (fell from power in August, 1967)\n\nReferences\n\nExternal links \n Gazette of the 1st Session of the 8th CCP Central Committee\n\nPolitburo of the Chinese Communist Party\n1956 in China", "Opal was an American rock band in the 1980s. They were part of the Paisley Underground musical style.\nThe band's name is derived from \"Opel\", a song by Syd Barrett.\n\nThe group formed in the mid-1980s under the name Clay Allison, featuring guitarist David Roback (previously of Rain Parade), bassist Kendra Smith (from Dream Syndicate) and drummer Keith Mitchell. After one single, they released the remaining Clay Allison tracks under the band's new name, Opal, on the 1984 Fell from the Sun EP. Another EP, Northern Line, followed in 1985. These EPs were later compiled and released as Early Recordings.\n\nHappy Nightmare Baby, Opal's first full-length album, was released in 1987. Smith left the group during the Happy Nightmare tour after a show in Providence, Rhode Island. Roback continued with vocalist Hope Sandoval, playing shows as Opal and planning an album to be titled Ghost Highway but in 1989 this band became Mazzy Star and Ghost Highway was presumably released as She Hangs Brightly. Kendra Smith released a number of solo singles, EPs, and one album before retiring to the woods of northern California.\n\nOn their debut 1990 album The Comforts of Madness UK band Pale Saints included a cover version of the Opal song \"Fell from the Sun\". The 2020 reissue of that album included a more raw and earlier version of \"Fell from the Sun\" along with the original cover.\n\nThe song \"She's a Diamond\" was included in the film Boys Don't Cry but was not included on the CD release of the film soundtrack.\n\nDavid Roback died on February 25, 2020.\n\nDiscography\n\nClay Allison\n\"Fell from the Sun\"/\"All Souls\" (7-inch single) (1984)\n\nKendra Smith / David Roback / Keith Mitchell\n\"Fell From The Sun\" EP (1984)\n\nOpal\n\nEPs\nFell from the Sun (1984, Rough Trade (UK))\nNorthern Line (1985, One Big Guitar)\n\nStudio albums\nHappy Nightmare Baby (1987, SST (US), Rough Trade (UK))\n\nCompilation albums\nI Am The Fly featuring Opal's version of The Doors song \"Indian Summer\" (1987, Chemical Imbalance #CI 003) Limited Edition, four band, four song, 7\" 45rpm\n\"If The Sun Don't Shine\" (Adaptation Of Jugband Blues), \"Beyond The Wildwood - A Tribute To Syd Barrett\" (Imaginary Records, 1987)\nEarly Recordings (1989, Rough Trade)\nEarly Recordings II (2006)\n\nReferences\n\nExternal links\nDiscography (includes all Mazzy Star-related artists)\nOpal discography, sa-wa-ro.com\n[ Opal on Allmusic]\n Opal entry on Trouserpress\nAlan McGee on Opal in his Guardian Column\n\nAlternative rock groups from California\nMusical groups from Los Angeles\nPsychedelic rock music groups from California\nSST Records artists\nRough Trade Records artists" ]
[ "Chuck Schuldiner", "Biography" ]	C_a88c4d67cad347c48cbcf2688f70c807_1	When was Chuck born?	1	When was Chuck Schuldiner born?	Chuck Schuldiner	Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida. Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER	May 13, 1967,	Charles Michael Schuldiner (May 13, 1967 – December 13, 2001) was an American singer, songwriter, and guitarist. He founded the band Death in 1983 and was their lead vocalist and guitarist until his death in 2001. His obituary in the January 5, 2002, issue of UK's Kerrang! magazine described him as "one of the most significant figures in the history of metal." Schuldiner was ranked No. 10 in Joel McIver's book The 100 Greatest Metal Guitarists in 2009 and No. 20 in March 2004 Guitar Worlds "The 100 Greatest Metal Guitarists". In 1987, Schuldiner founded the publishing company Mutilation Music, affiliated with performance rights organization BMI. Schuldiner died in 2001 of a brain tumor. Schuldiner is often referred to as "The Godfather of death metal", although he was uncomfortable with this nickname, remarking that "I don't think I should take the credits for this death metal stuff. I'm just a guy from a band, and I think Death is a metal band." Biography Early life Schuldiner was born on May 13, 1967, on Long Island, New York. His father Mal Schuldiner was Jewish and the son of Austrian immigrants, and his mother Jane Schuldiner was from the American South and had converted to Judaism. In 1968, his family moved to Florida. He started playing guitar at the age of 9. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely until his parents bought him an electric guitar at a yard sale. The young Schuldiner immediately took to the instrument and began playing, writing and teaching himself. He was known to spend the weekend in the garage or his room playing his guitar but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Black Sabbath, Judas Priest, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM – New Wave of British Heavy Metal – and cited bands of that genre among his favorites. He frequently cited French band Sortilège as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own songwriting. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensrÿche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education and eventually dropping out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. Musical career Taking inspiration from Nasty Savage, Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death. Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989. After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release. Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview, Schuldiner spoke about why he didn't sing on the Control Denied album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums." Illness and death In 1999, Schuldiner was diagnosed with brain cancer. He continued to work on his music, continuing his work with Control Denied. He was at first unable to afford the surgery that he needed immediately. A press release called for support from everyone, including fellow artists. Jane Schuldiner urged all who read the statements about Schuldiner and his illness to go out and get insurance, stating her frustration in the American healthcare system. Schuldiner had taken out medical insurance after his first surgery, but the insurer had refused to pay because the cancer pre-dated insurance being taken out. Many artists, including Kid Rock, Korn and Red Hot Chili Peppers, got together during the summer of 2001 to auction off personal items, with the funds assisting Schuldiner's medical expenses, an effort covered by MTV. Matt Heafy, vocalist and guitarist for Trivium, has also stated that the band had played a benefit show for Schuldiner while he was in the hospital in their days as a local band. In November 2001, Schuldiner's condition worsened as he became ill with Pneumocystis carinii. On December 13, 2001, Schuldiner died at the age of 34 and was cremated. MTV reported that recording artists including Dave Grohl, Mike Patton, Max Cavalera, King Diamond, Ville Valo, Trey Azagthoth, Glen Benton, Jason Newsted, Corey Taylor, and all former and active members of Death, attended his memorial service. Legacy With the assistance of Schuldiner's family, former manager Eric Greif handled his legacy as President of Perseverance Holdings Ltd. Schuldiner's mother Jane and sister Beth Schuldiner frequently interact with his fans and both have stated many times that they enjoy his music. Greif kept track of his recordings and handled Schuldiner's intellectual property. Beth Schuldiner has a son named Christopher Steele, who also plays guitar and has all of Schuldiner's guitars. BC Rich also released a statement in their 2008 catalog stating that Schuldiner's signature model Stealth will be available for purchase, and that endorsement is overseen by Steele. Schuldiner had homes and two dogs in the area surrounding Orlando. Schuldiner built a studio inside the garage where many of his songs such as "Crystal Mountain" were inspired. Schuldiner's home office was the site of the Metal Crusade newsletter and fan club. A legal battle began from the time of Schuldiner's death on the settlement of the rights to the partially completed second Control Denied album, When Man and Machine Collide, which was recorded in 2000–2001 and was scheduled for release in 2013. Demos of these unreleased Control Denied songs, as well as early Death demos and live Death recordings from 1990, were released in the Zero Tolerance two-part compilation bootlegs by the Dutch Hammerheart Holdings company and the Schuldiners and Greif asserted rights on behalf of Schuldiner's Estate. The matter was settled in November 2009, anticipating the project being finished and released in 2010. Tribute concerts have been coordinated or funded by Schuldiner's mother and family and various Death tribute groups internationally. Former CKY frontman, Deron Miller, who considers Schuldiner an idol of his, got the idea, while working on various projects with former Death guitarist (and pituitary tumor survivor) James Murphy, to do a tribute album. Murphy announced he would release a Chuck Schuldiner tribute album to commemorate his lasting mark on the metal community and Schuldiner's family publicly offered support for Murphy's effort, though it has never materialized. Schuldiner's sister Beth confirmed via her YouTube channel that Death: Live in Japan, a behind the scenes Death video, as well as a potential boxset containing all of Schuldiner's works including some exclusive copies of handwritten notes by Schuldiner are in the works via Relapse Records. Schuldiner Estate lawyer Eric Greif held a charity Chuck Schuldiner Birthday Bash in Calgary, Alberta, May 13, 2011, featuring speeches by Greif and former Death guitarist Paul Masvidal, as well as bands performing Schuldiner's music. Greif repeated this May 12, 2012, with special guest band Massacre, featuring former Death members Rick Rozz and Terry Butler. Book In January 2001, Mahyar Dean, an Iranian metal guitarist/musician, wrote Death, a book about Death and Schuldiner poems. The book includes bilingual lyrics and many articles about the band. The book was sent through the site keepers of emptywords.org to Schuldiner, who in his words was "truly blown away and honored by the obvious work and devotion he put into bringing the book to life". Beliefs Schuldiner designed the Death logo and its various incarnations during the length of his career. In 1991, before the release of Human, he cleaned up the logo taking out more intricate details and the "T" in the logo was swapped from an inverted cross to a more regular looking "T", one reason being to quash any implication of religion. Schuldiner was also openly against hard drugs; he is quoted as saying, "I've tripped several times. That's all because I don't like the hard drugs. And my only drugs are alcohol and grass." Schuldiner also stated that he was pro-choice. He is quoted as saying that "it should be legal. If I was a woman surely I would like to have a choice to have a child or not. In U.S. a lot of new-borns are killed because they were unwanted. It is better to solve it immediately when a woman finds out about the pregnancy and she doesn't want a child. Better to go for an abortion than to kill a baby. That is terrible. Men cannot force women to keep a child when they themselves feel they can't." Musical style Schuldiner was mostly self-taught as a guitarist. In 1993, he expressed a disinterest in music theory: "I know enough about what I'm playing to memorize the scales and things, but I have no idea how you would label them. As long as I can play it, memorize it and apply it, I don't need to know what you call it." In the early days of Death, Schuldiner used a "deep, raspy" death growl vocal technique. He said in 1993 that "it takes a lot of energy and a lot of throat abuse to get through a show." Equipment Guitars Schuldiner's primary guitar throughout most of his career was the B.C. Rich Stealth model, an extremely rare model produced in small amounts under the B.C. Rich US (U-) series name along with the Custom Shop, until it was released to the public as the Chuck Schuldiner Tribute Stealth. The Stealth was also released as an N.J. model in the 1980's and 1990's, but was extremely rare. Prior to this, he used a B.C. Rich Mockingbird copy, built by "someone in Florida", and a B.C Rich Ignitor. Most of Schuldiner's sound came from a DiMarzio X2N pickup placed in the bridge. During the (In)Human Tour of the World (1991–92), Schuldiner briefly endorsed a small Wisconsin custom guitar company called Axtra, who worked with him on designs, though he still insisted on using his B.C. Rich during filming of the Lack of Comprehension video in September 1991 in Orlando. Amplifiers The amplifier he used towards the end of his career was a Marshall Valvestate (Model 8100) amplifier head and Valvestate 4x12 speaker cabinets on Individual Thought Patterns as well as the ITP tour and eventually started using Marshall 1960 cabinets. Before that he used various equipment including Randall RG100ES heads and Randall cabinets, and on the (In)Human Tour of the World he used a small GK 250ML miked up, despite having hollow 4x12 stacks 'for show'. On the first two Death albums, he stated he used a Boss distortion pedal, but didn't specify which, after which he used amplifier distortion. Discography Death 1987: Scream Bloody Gore 1988: Leprosy 1990: Spiritual Healing 1991: Human 1993: Individual Thought Patterns 1995: Symbolic 1998: The Sound of Perseverance Voodoocult 1994: Jesus Killing Machine Control Denied 1999: The Fragile Art of Existence See also Honorific nicknames in popular music References Sources The Metal Crusade, official site of The Death Fan Club Empty Words, official Death/Control Denied archival site 1967 births 2001 deaths Deaths from pneumonia in Florida American heavy metal guitarists American heavy metal singers American people of Austrian-Jewish descent Rhythm guitarists Lead guitarists Death (metal band) members Death metal musicians Deaths from brain tumor Deaths from cancer in Florida Neurological disease deaths in Florida Jewish American musicians Jewish singers Jewish American songwriters Singers from Florida Singers from New York (state) People from Glen Cove, New York Singers from Orlando, Florida People from Altamonte Springs, Florida Progressive metal guitarists Songwriters from Florida Songwriters from New York (state) 20th-century American singers Jewish heavy metal musicians 20th-century American guitarists Guitarists from Florida Guitarists from New York (state) American male guitarists Control Denied members Voodoocult members 20th-century American male singers 20th-century American Jews American male songwriters	true	[ "Eleanor Faye Bartowski Woodcomb, MD, PhD, is the older sister of title character Chuck Bartowski on the television series Chuck. She is portrayed by actress Sarah Lancaster.\n\nBiography \nEleanor Faye Bartowski was born to Stephen and Mary Bartowski in 1978. With the exception of her younger brother, Chuck (Zachary Levi), little was initially known about the Bartowski family beyond that their mother left them when they were younger (Chuck was in the fifth grade) and that their father was \"never really there.\" Her father, Stephen J. Bartowski, first appeared in the episode \"Chuck Versus the Dream Job.\" Ellie attended and graduated from UCLA Medical School, where she met and went to school with her future husband, Devon Woodcomb. Devon was in love with her for three years (\"give or take\") before the events of \"Chuck Versus the Seduction.\" They began dating when Devon gave her his sweater and said it was meant for her because the color matched her eyes. She also earned a Ph.D., although neither the discipline in which, nor the university where, she studied has been revealed as of the end of season four.\n\nWhen her brother was expelled by Stanford University in 2003 he came back to Echo Park in Los Angeles to stay with her. For much of their lives growing up, Chuck and Ellie relied on each other, and after Chuck returned home, Ellie became one of his main sources of support as he recovered from Bryce Larkin's betrayal. At the beginning of the series, Ellie is throwing a birthday party for Chuck and has invited a number of her girlfriends for him to meet in hopes of helping him get past Jill. In \"Chuck Versus the Subway\", late in season 3, she learns that Chuck is a spy. In the season 4 opener \"Chuck Versus the Anniversary\" it is revealed Ellie and Devon are expecting a baby. Daughter Clara is born in the mid season episode \"Chuck Versus the Push Mix\".\n\nSeries \nEllie Bartowski-Woodcomb is portrayed by actress Sarah Lancaster. She first appears in the series at the beginning of \"Chuck Versus the Intersect,\" when Chuck tries to escape his birthday party which she arranged to try introducing him to real women. She remains one of the most important anchors between Chuck and his real life throughout the series, and her safety is one of his foremost concerns. When Chuck discovered Casey had bugged the home he shared with Ellie, he was even prepared to threaten Casey if he found out he was spying on her as well. When Chuck's extraction by the government was imminent, he made a point of telling her goodbye, and later asked Sarah to tell her something to make his disappearance \"okay.\"\n\nMost of Ellie's appearances in the series have been as part of the side-plots involving Chuck's real life and coworkers at the Buy More, so she has rarely figured prominently into the main arc. Her most significant role in the main plot of an episode came in \"Chuck Versus the Truth,\" in which Ellie attempted to treat nuclear expert Mason Whitney when he was poisoned by Reardon Payne. When Whitney later died, Payne, disguised as a police officer taking a statement, exposed Ellie to the same toxic truth serum he used on Whitney to find where he hid his nuclear codes. Ellie nearly died as a result of the poisoning until Chuck administered the antidote. Although she was in a coma during this time, Ellie became the first person Chuck told about his secret life. She was also among the hostages in the Buy More when Ned Rhyerson crashed his car into the store while evading the police. For her sake, Chuck convinced Devon not to go through with a plan to overwhelm Ned, and later identified himself as the Intersect to Mauser to prevent him from killing her. The bracelet Chuck gave to Sarah in the same episode was a charm bracelet Chuck and Ellie's father gave to their mother when Ellie was born.\n\nA major recurring thread in the series is the love/hate relationship she has with Chuck's best friend Morgan Grimes. Morgan has been in love with Ellie for a long time (or at the very least has a very strong crush on her), but Ellie is at first shown to barely tolerate him. However, as the series progresses, she and Morgan come to form something resembling a friendship, partly owing to them both missing Chuck as his spy life begins to interfere more frequently with his real life. Morgan also offers her support and comfort during a fight with Devon, where he admits he sees her as a sister (that he wants to have sex with so bad). Morgan's girlfriend Anna immediately takes a dislike to Ellie because of Morgan's long-standing crush.\n\nThroughout the series, Ellie encourages Chuck and pushes him towards leaving the Buy More and doing something more suitable to his education level. After Chuck expressed misgivings about his relationship with Sarah in \"Chuck Versus the Suburbs,\" she encouraged Chuck to break up with her, before Morgan reminded her that Sarah was the best thing that had happened to him in a long time. She was ecstatic when Chuck announced he was moving out and that he and Sarah would be getting a place together, but did not have a chance to react when Chuck later abruptly changed his mind.\n\nDevon proposed to Ellie at the end of \"Chuck Versus the Marlin,\" and she accepted. This began a secondary arc throughout the second season covering the preparations for the wedding. Ellie's regret that her father would not be there led Chuck to decide to track him down and promise that their father would be there. Their father indeed appeared at the end of the second season (see below). Ellie married Devon in the second-season finale.\n\nIn the third season, Ellie grows concerned that Chuck and Devon seem to be keeping secrets from her. The secrets really have to do with Devon being in on Chuck's spy life since late in season 2, and Devon always has trouble lying to her, but Ellie remains unaware of what they are keeping from her. She begins to snoop on Chuck—even enlisting Morgan, who shares suspicions about Chuck. Their suspicions are allayed when they catch Chuck sneaking around to make out with Hannah, but Ellie still takes note of Devon and Chuck being \"thick as thieves.\"\n\nEllie gets her dream opportunity, a neurology fellowship at (UCLA rival) USC. Devon is initially opposed to the idea because he wants to get himself and Ellie away from the danger attendant with Chuck's spy life, but he relents, realizing how important the opportunity is to her. Soon she is granted a sabbatical, allowing her to take a year off so she can both pursue the fellowship and go to Africa with Doctors Without Borders as Devon planned.\n\nIn \"Chuck Versus the Tooth\" Ellie is manipulated by a Ring operative she met in Africa named Justin into believing that Casey is a double-agent and a threat to her father. While posing as a CIA operative, Justin recruits Ellie as an asset after she accidentally discovers a substantial amount of weaponry stashed away in Casey's apartment, and is tricked by Justin into revealing that Stephen left a means for his children to contact him. Their means of communication was through the advertising in newspapers, so they could send secret messages. However, Stephen came to Burbank, instead of revealing his whereabouts that Justin desired. When Ellie asked about what to do about Casey, Justin gave her a music box that could jam his communications. The box is later revealed to have a gun, which Justin urges her to use to shoot Casey, who was planting bugs around her apartment. Ellie couldn't bring herself to do it and instead struck Casey down with a frying pan before running to Justin. Unfortunately, he locked her in his office while lying that the CIA had safeguarded her father.\n\nEllie learned of her father and brother's involvement in the CIA in \"Chuck Versus the Subway,\" and was instrumental in helping Devon and Morgan rescue the team from Daniel Shaw after witnessing her father's murder. Ellie approved Chuck's decision to finish Shaw and the Ring, but insisted he quit once they were defeated. However, Chuck would be drawn into the spy world once more with an unknown enemy that their father had been fighting.\n\nIn \"Chuck Versus the Anniversary\" Chuck was on his way to tell Ellie that he has to return to being a spy to find their mother, but she presumed that he was telling her that he's returning to the Buy More, now controlled by the U.S. government. In turn, she confides in her brother that she's pregnant. Ellie and Awesome are expecting a daughter. Although Ellie had discovered Chuck's work with the CIA during the previous season's finale, she did not actually see how good at it Chuck actually was—or how much he truly enjoyed the work—until \"Chuck Versus the Coup d'Etat.\" She openly admitted being impressed with Chuck's skills when he and Sarah helped both Ellie and Devon, and Generalissimo Goya, escape a coup d'etat in Costa Gravas.\n\nEllie was briefly reunited with her mother in \"Chuck Versus the First Fight,\" after Morgan arranged the visit as part of a plea deal in which Mary agreed to help the team locate Chuck following his capture by Volkoff agents. During the meeting, Mary explained to Ellie where she had been the last twenty years and also subtly provided hints relevant to a search Ellie was conducting for anything left behind for her by her father (prompted by Chuck's own inquiries if Stephen had done so). The story Mary told her about road trips in the family's old Mustang led her to the realization that a car she had seen in the classifieds of the newspaper—which she was searching due to her father's habit of leaving her coded messages in such a manner—was indeed left behind by Stephen as she suspected. With Devon's help Ellie recovered the vehicle and a note from her father. Hidden beneath one of the seats was one of his computers. She found it and Devon said he would take it. After Devon has Lester hack it to turn it on, there was a password that only Ellie knows, which was \"Knock, Knock\" and the answer was \"I'm here\".\n\nThe laptop contained her father's research on the Intersect in the brain from an engineer's perspective. She corrected it with her neuroscience but wasn't able to activate it through a new password which was known only by Chuck. Although Ellie was unaware of the purpose of her father's work, the corrections she made allowed Chuck to reactivate the Intersect.\n\nIn the episode \"Chuck Versus the Muuurder\", Ellie devotes her time to the research on the laptop, after it is given to her by National Clandestine Service Director Jane Bentley. When she is sleeping, the laptop scans her, and verifies her identity before accessing files on \"Agent X\".\n\nIn the series finale, Ellie moves with Devon, their daughter and Mary to Chicago.\n\nDevelopment \n\nSarah Lancaster was cast in the role of Ellie Bartowski in March, 2007, joining Zachary Levi, Adam Baldwin and Yvonne Strahovski. On January 16, 2009 it was announced that Scott Bakula would be appearing as Chuck and Ellie's father Stephen in a three-episode story.\n\nPersonality \n\nIronically, considering that Chuck's secret life has led him to save Ellie's on three occasions, she still plays the role of the over-protective older sister and deep-down still sees him as her baby brother. She frequently offers Chuck encouragement and advice on women in general, and his relationship with Sarah in particular. Although unaware of the truth of that relationship, Ellie is one of the first people to recognize that her interest in Chuck is genuine. She was immediately concerned when Chuck ran into Jill again and was meeting her for dinner to catch up.\n\nShe immediately took a liking to Sarah, and is one of the few characters who enjoys Casey's company or refers to him by first name (\"He's so sweet!\").\n\nAfter Chuck, the most important person in Ellie's life is her husband, Devon Woodcomb. She's the only character who never refers to him as \"Captain Awesome,\" although she did refer to his parents as the \"Very Awesomes\" when they were planning a visit. She loves him dearly, but under the effects of truth serum angrily complained about his frequent use of the word \"awesome,\" and what she felt as moments of neglect of her feelings in the relationship. Ellie later accuses him of self-centeredness and disregard what she wanted when he a bought washer and dryer for their anniversary (as opposed to a big-screen TV).\n\nAlthough usually calm and collected, Ellie becomes a nervous wreck and a perfectionist when she is required to be near Devon's parents, whom she refers to as the \"Very Awesomes.\" In \"Chuck Versus the Gravitron,\" Devon's parents are supposed to come over for Thanksgiving and Ellie's nervousness manifests with her cleaning at a hurried pace, cooking multiple turkeys (which she promptly throws in the trash for flaws only she notices) and uninviting Morgan. Ellie was greatly intimidated during a visit from Devon's parents, and was quickly driven to frustration by Honey Woodcomb's interference with the wedding plans, but hits her breaking point when Woody offers to walk her down the aisle (the only part of the wedding she imagined was her father doing this). She was also deeply disturbed by her perception of Devon's bachelor party, after seeing incriminating photographs taken by Lester of an unconscious Devon with Agent Forrest (dressed as a cop-themed stripper). She was hurt, and believes Chuck and Morgan are covering up willful actions taken by Devon during the party (she later learned the truth). And like Chuck, Ellie also has a trusting nature, which the Ring used to manipulate her into thinking that her handler was CIA and that Casey was a double agent.\n\nIt is unknown whether she has the same ability to absorb and retain visual information as her father and brother.\n\nReferences \n\nChuck (TV series) characters\nFictional physicians\nFictional scientists\nFictional hackers\nFictional characters from Los Angeles\nTelevision characters introduced in 2007\nAmerican female characters in television", "Dr. Jill Roberts is a recurring character on the action/comedy series Chuck on NBC. She is a prominent figure in the series' mythology, though she did not appear until the middle of the second season. Jill is Chuck's ex-girlfriend from Stanford, and is portrayed by Jordana Brewster. Jill has made the most recurring appearances among Fulcrum agents in the series (with four appearances), surpassing Ted Roark and Vincent, who have each made three appearances.\n\nBiography\n\nMost of what is known about Jill in the series has been revealed by Chuck, and prior to Sarah Walker, Jill was the love of his life. It was revealed in \"Chuck Versus the Alma Mater\" they met through their mutual friend Bryce Larkin (Matthew Bomer) at Stanford in 1999, and after growing closer as friends, eventually began to date. In 2003, Chuck was expelled after being framed for stealing the answer keys to tests for one of his classes by Larkin. A flashback in \"Chuck Versus the Ex\" shows he returned to Stanford briefly in an effort to explain the situation, but Jill told Chuck it was over between them. She also didn't contradict her roommate when the latter said Jill had begun seeing Bryce.\n\nShe graduated from Stanford with high grades, and her school performance attracted Fulcrum's attention while she was still attending school. They began exerting pressure on her, until it was too late for her to escape from their influence. According to Chris Fedak, Jill was recruited into Fulcrum by her Uncle Bernie. In \"Chuck Versus the First Kill\", Bernie is revealed to be her father's best friend. After Chuck was expelled through the actions of Larkin, she was ordered by Fulcrum to break off her relationship with Chuck. The best way she knew how was to tell him she had started seeing Bryce. During the course of her recruitment, she also received espionage and firearms training.\n\nSeries\n\nIn \"Chuck Versus the Ex\", set six years after Chuck's expulsion, he and Jill unexpectedly reunite while he was providing technical support for a scientific conference that Jill was attending with her boss, Dr. Guy LaFleur. Chuck was ordered to use his connection with Jill to learn more about LaFleur, who was suspected of developing a biological weapon. After LaFleur was killed by a Fulcrum agent, Jill revealed that he actually uncovered the plot and was attempting to stop it. Chuck later identified himself as a government operative to obtain her assistance once the bioweapon was unleashed in a scientific conference. After this, she and Chuck began dating again in secret while Chuck continued to maintain his cover relationship with Sarah, which both women found uncomfortable as they were both jealous of each other. In \"Chuck Versus the Fat Lady\", Jill aided the team when they began to search for a list of Fulcrum agents that LaFleur had stolen and had intended to turn over to the CIA. As Jill was familiar with the puzzles LaFleur used to protect his valuables, she was able to assist the team with recovering the data. As Chuck and Jill decided to embark on a romantic getaway, Casey and Sarah were reviewing the list and matching it with a list of government agents. It was then revealed Jill was in fact a Fulcrum agent.\n\nJill's Fulcrum handler was a man known only by the code-name Leader. Her own Fulcrum callsign was \"Sandstorm\", which Casey and Sarah told to Chuck to trigger a flash and confirm their warnings. Chuck agreed to help bring Jill into custody, however Jill was already setting Leader's plan to infiltrate Castle in motion. She played on Chuck's trust and feelings for her to lead him to believe she wanted to escape Fulcrum, manipulating a lie-detector test in order to convince him that they could really be together. She and Leader both underestimated Chuck's computer skills, which he used to lock down Castle, engineer his own escape, and release Casey to deal with Leader. Jill attempted to kill Sarah, but Chuck tricked her into getting into the Nerd Herd vehicle and used its built-in detainment system to place her under arrest.\n\nJill returned in \"Chuck Versus the First Kill\". She agreed to help the team rescue Stephen Bartowski in exchange for being released into witness protection, although Chuck was unauthorized to make such a deal. Jill attempted to escape during a firefight between Sarah and a Fulcrum team while infiltrating a Fulcrum office fronting for a recruiting center, but changed her mind and returned to help Chuck. After overhearing where Stephen was being taken, she told Chuck and in return he honored his promise by letting Jill escape.\n\nAs of the end of Season 2, Jill is still at large. It is unknown whether she has returned to Fulcrum or has turned rogue.\n\nDevelopment\n\nOn July 13, 2008, Jordana Brewster was officially announced as joining the cast of Chuck in the role of his ex-girlfriend from college, Jill Roberts. Although Jill had been referenced numerous times throughout the first and second seasons, she had yet to actually appear in an episode. Most details about her up until her appearance were revealed by Chuck in dialogue. The most significant information about their relationship was in \"Chuck Versus the Alma Mater\", where it was first revealed that Jill was a friend of Bryce Larkin's. Bryce introduced them not long after he and Chuck first met, referring back to the pilot episode when Chuck spaces out while remembering how close the three of them were in Stanford.\n\nIn March 2009, Jordana Brewster stated in interviews that she would be returning to play Jill in \"Chuck Versus the First Kill\". She was released from prison after being arrested at the end of \"Chuck Versus the Gravitron\" to assist the team in locating Chuck's captured father. The episode focused heavily on trust, particularly how much Chuck could trust Jill in reference to her several betrayals in \"Chuck Versus the Gravitron\".\n\nPersonality\n\nJill is highly intelligent, graduating from Stanford with a degree in Molecular Biology. She is an expert in biomedical engineering. She was good friends with Bryce Larkin at Stanford, and it was Bryce who first introduced her to Chuck. In \"Chuck Versus the Gravitron\", it was revealed in a flashback leading into the episode that although Chuck was interested in dating Jill for a while, he was too shy and uncomfortable to tell her how he felt so she was forced to take the lead. Jill shared many of the same interests as Chuck and Bryce, and was an avid EverQuest fan.\n\nIt was Jill's intelligence that first attracted Fulcrum's attention, and in \"Chuck Versus the Gravitron\" she claimed to have been pressured into joining. In the same episode it was revealed that Jill was highly deceptive, and was able to carefully manipulate a lie detector to convince Chuck of her intentions to turn and help them, setting up Fulcrum's attempt to take control of Castle. Jill also claims that she didn't actually cheat on Chuck with Bryce after his expulsion from Stanford and that she was ordered to tell him this by Fulcrum appears to have been validated by the lie detector.\n\nIn \"Chuck Versus the First Kill\", she expresses a great deal of regret over how Fulcrum changed her, and warns Chuck to not allow the CIA and NSA to do the same with him. She was also grateful that Chuck's operation allowed her a chance to see her family one last time, and she didn't blame him for being sent back to prison despite the deal they struck to secure her assistance in locating Stephen Bartowski. Jill first attempted to escape when Sarah was pinned down in a firefight, but she changed her mind and chose to return to help Chuck after first overhearing where Fulcrum was taking his father. Instead of allowing her to be arrested again, Chuck released her to hold up his end of their deal and show her that he wasn't letting his job change him.\n\nNBC.com suggests that Jill is believed to have a sizable amount of knowledge on the Intersect computer, as well as Fulcrum's plans for it. Jill's relationships with both Chuck and Bryce made her a dangerous liability to both.\n\nReferences\n\nChuck (TV series) characters\nFictional secret agents and spies\nTelevision characters introduced in 2008\nFictional female scientists\nAmerican female characters in television" ]
[ "Chuck Schuldiner", "Biography", "When was Chuck born?", "May 13, 1967," ]	C_a88c4d67cad347c48cbcf2688f70c807_1	where was he born?	2	Where was Chuck Schuldiner born?	Chuck Schuldiner	Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida. Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER	Long Island, New York	Charles Michael Schuldiner (May 13, 1967 – December 13, 2001) was an American singer, songwriter, and guitarist. He founded the band Death in 1983 and was their lead vocalist and guitarist until his death in 2001. His obituary in the January 5, 2002, issue of UK's Kerrang! magazine described him as "one of the most significant figures in the history of metal." Schuldiner was ranked No. 10 in Joel McIver's book The 100 Greatest Metal Guitarists in 2009 and No. 20 in March 2004 Guitar Worlds "The 100 Greatest Metal Guitarists". In 1987, Schuldiner founded the publishing company Mutilation Music, affiliated with performance rights organization BMI. Schuldiner died in 2001 of a brain tumor. Schuldiner is often referred to as "The Godfather of death metal", although he was uncomfortable with this nickname, remarking that "I don't think I should take the credits for this death metal stuff. I'm just a guy from a band, and I think Death is a metal band." Biography Early life Schuldiner was born on May 13, 1967, on Long Island, New York. His father Mal Schuldiner was Jewish and the son of Austrian immigrants, and his mother Jane Schuldiner was from the American South and had converted to Judaism. In 1968, his family moved to Florida. He started playing guitar at the age of 9. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely until his parents bought him an electric guitar at a yard sale. The young Schuldiner immediately took to the instrument and began playing, writing and teaching himself. He was known to spend the weekend in the garage or his room playing his guitar but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Black Sabbath, Judas Priest, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM – New Wave of British Heavy Metal – and cited bands of that genre among his favorites. He frequently cited French band Sortilège as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own songwriting. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensrÿche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education and eventually dropping out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. Musical career Taking inspiration from Nasty Savage, Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death. Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989. After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release. Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview, Schuldiner spoke about why he didn't sing on the Control Denied album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums." Illness and death In 1999, Schuldiner was diagnosed with brain cancer. He continued to work on his music, continuing his work with Control Denied. He was at first unable to afford the surgery that he needed immediately. A press release called for support from everyone, including fellow artists. Jane Schuldiner urged all who read the statements about Schuldiner and his illness to go out and get insurance, stating her frustration in the American healthcare system. Schuldiner had taken out medical insurance after his first surgery, but the insurer had refused to pay because the cancer pre-dated insurance being taken out. Many artists, including Kid Rock, Korn and Red Hot Chili Peppers, got together during the summer of 2001 to auction off personal items, with the funds assisting Schuldiner's medical expenses, an effort covered by MTV. Matt Heafy, vocalist and guitarist for Trivium, has also stated that the band had played a benefit show for Schuldiner while he was in the hospital in their days as a local band. In November 2001, Schuldiner's condition worsened as he became ill with Pneumocystis carinii. On December 13, 2001, Schuldiner died at the age of 34 and was cremated. MTV reported that recording artists including Dave Grohl, Mike Patton, Max Cavalera, King Diamond, Ville Valo, Trey Azagthoth, Glen Benton, Jason Newsted, Corey Taylor, and all former and active members of Death, attended his memorial service. Legacy With the assistance of Schuldiner's family, former manager Eric Greif handled his legacy as President of Perseverance Holdings Ltd. Schuldiner's mother Jane and sister Beth Schuldiner frequently interact with his fans and both have stated many times that they enjoy his music. Greif kept track of his recordings and handled Schuldiner's intellectual property. Beth Schuldiner has a son named Christopher Steele, who also plays guitar and has all of Schuldiner's guitars. BC Rich also released a statement in their 2008 catalog stating that Schuldiner's signature model Stealth will be available for purchase, and that endorsement is overseen by Steele. Schuldiner had homes and two dogs in the area surrounding Orlando. Schuldiner built a studio inside the garage where many of his songs such as "Crystal Mountain" were inspired. Schuldiner's home office was the site of the Metal Crusade newsletter and fan club. A legal battle began from the time of Schuldiner's death on the settlement of the rights to the partially completed second Control Denied album, When Man and Machine Collide, which was recorded in 2000–2001 and was scheduled for release in 2013. Demos of these unreleased Control Denied songs, as well as early Death demos and live Death recordings from 1990, were released in the Zero Tolerance two-part compilation bootlegs by the Dutch Hammerheart Holdings company and the Schuldiners and Greif asserted rights on behalf of Schuldiner's Estate. The matter was settled in November 2009, anticipating the project being finished and released in 2010. Tribute concerts have been coordinated or funded by Schuldiner's mother and family and various Death tribute groups internationally. Former CKY frontman, Deron Miller, who considers Schuldiner an idol of his, got the idea, while working on various projects with former Death guitarist (and pituitary tumor survivor) James Murphy, to do a tribute album. Murphy announced he would release a Chuck Schuldiner tribute album to commemorate his lasting mark on the metal community and Schuldiner's family publicly offered support for Murphy's effort, though it has never materialized. Schuldiner's sister Beth confirmed via her YouTube channel that Death: Live in Japan, a behind the scenes Death video, as well as a potential boxset containing all of Schuldiner's works including some exclusive copies of handwritten notes by Schuldiner are in the works via Relapse Records. Schuldiner Estate lawyer Eric Greif held a charity Chuck Schuldiner Birthday Bash in Calgary, Alberta, May 13, 2011, featuring speeches by Greif and former Death guitarist Paul Masvidal, as well as bands performing Schuldiner's music. Greif repeated this May 12, 2012, with special guest band Massacre, featuring former Death members Rick Rozz and Terry Butler. Book In January 2001, Mahyar Dean, an Iranian metal guitarist/musician, wrote Death, a book about Death and Schuldiner poems. The book includes bilingual lyrics and many articles about the band. The book was sent through the site keepers of emptywords.org to Schuldiner, who in his words was "truly blown away and honored by the obvious work and devotion he put into bringing the book to life". Beliefs Schuldiner designed the Death logo and its various incarnations during the length of his career. In 1991, before the release of Human, he cleaned up the logo taking out more intricate details and the "T" in the logo was swapped from an inverted cross to a more regular looking "T", one reason being to quash any implication of religion. Schuldiner was also openly against hard drugs; he is quoted as saying, "I've tripped several times. That's all because I don't like the hard drugs. And my only drugs are alcohol and grass." Schuldiner also stated that he was pro-choice. He is quoted as saying that "it should be legal. If I was a woman surely I would like to have a choice to have a child or not. In U.S. a lot of new-borns are killed because they were unwanted. It is better to solve it immediately when a woman finds out about the pregnancy and she doesn't want a child. Better to go for an abortion than to kill a baby. That is terrible. Men cannot force women to keep a child when they themselves feel they can't." Musical style Schuldiner was mostly self-taught as a guitarist. In 1993, he expressed a disinterest in music theory: "I know enough about what I'm playing to memorize the scales and things, but I have no idea how you would label them. As long as I can play it, memorize it and apply it, I don't need to know what you call it." In the early days of Death, Schuldiner used a "deep, raspy" death growl vocal technique. He said in 1993 that "it takes a lot of energy and a lot of throat abuse to get through a show." Equipment Guitars Schuldiner's primary guitar throughout most of his career was the B.C. Rich Stealth model, an extremely rare model produced in small amounts under the B.C. Rich US (U-) series name along with the Custom Shop, until it was released to the public as the Chuck Schuldiner Tribute Stealth. The Stealth was also released as an N.J. model in the 1980's and 1990's, but was extremely rare. Prior to this, he used a B.C. Rich Mockingbird copy, built by "someone in Florida", and a B.C Rich Ignitor. Most of Schuldiner's sound came from a DiMarzio X2N pickup placed in the bridge. During the (In)Human Tour of the World (1991–92), Schuldiner briefly endorsed a small Wisconsin custom guitar company called Axtra, who worked with him on designs, though he still insisted on using his B.C. Rich during filming of the Lack of Comprehension video in September 1991 in Orlando. Amplifiers The amplifier he used towards the end of his career was a Marshall Valvestate (Model 8100) amplifier head and Valvestate 4x12 speaker cabinets on Individual Thought Patterns as well as the ITP tour and eventually started using Marshall 1960 cabinets. Before that he used various equipment including Randall RG100ES heads and Randall cabinets, and on the (In)Human Tour of the World he used a small GK 250ML miked up, despite having hollow 4x12 stacks 'for show'. On the first two Death albums, he stated he used a Boss distortion pedal, but didn't specify which, after which he used amplifier distortion. Discography Death 1987: Scream Bloody Gore 1988: Leprosy 1990: Spiritual Healing 1991: Human 1993: Individual Thought Patterns 1995: Symbolic 1998: The Sound of Perseverance Voodoocult 1994: Jesus Killing Machine Control Denied 1999: The Fragile Art of Existence See also Honorific nicknames in popular music References Sources The Metal Crusade, official site of The Death Fan Club Empty Words, official Death/Control Denied archival site 1967 births 2001 deaths Deaths from pneumonia in Florida American heavy metal guitarists American heavy metal singers American people of Austrian-Jewish descent Rhythm guitarists Lead guitarists Death (metal band) members Death metal musicians Deaths from brain tumor Deaths from cancer in Florida Neurological disease deaths in Florida Jewish American musicians Jewish singers Jewish American songwriters Singers from Florida Singers from New York (state) People from Glen Cove, New York Singers from Orlando, Florida People from Altamonte Springs, Florida Progressive metal guitarists Songwriters from Florida Songwriters from New York (state) 20th-century American singers Jewish heavy metal musicians 20th-century American guitarists Guitarists from Florida Guitarists from New York (state) American male guitarists Control Denied members Voodoocult members 20th-century American male singers 20th-century American Jews American male songwriters	true	[ "Miguel Skrobot (Warsaw, 1873 – Curitiba, February 20, 1912) was a businessman Brazilian of Polish origin.\n\nMiguel Skrobot was born in 1873, in Warsaw, Poland, to José Skrobot and Rosa Skrobot. When he was 18 he migrated to Brazil and settled in Curitiba as a merchant.\n\nHe married Maria Pansardi, who was born in Tibagi, Paraná, to Italian immigrants, and she bore him three children. He kept a steam-powered factory where he worked on grinding and toasting coffee beans under the \"Rio Branco\" brand, located on the spot where today stands the square called Praça Zacarias (square located in the center of Curitiba). He also owned a grocery store near Praça Tiradentes (also a square in the center of Curitiba, where the city was born). He died an early death, when he was 39, on February 20, 1912.\n\nReferences\n\n1873 births\n1912 deaths\nBrazilian businesspeople\nPeople from Curitiba\nPolish emigrants to Brazil", "Adolf von Rauch (22 April 1798 - 12 December 1882) was a German paper manufacturer in Heilbronn, where he was born and died and where he was a major builder of social housing.\n\nPapermakers\n1798 births\n1882 deaths\nPeople from Heilbronn" ]
[ "Chuck Schuldiner", "Biography", "When was Chuck born?", "May 13, 1967,", "where was he born?", "Long Island, New York" ]	C_a88c4d67cad347c48cbcf2688f70c807_1	is there any mention of his parents?	3	Is there any mention of Chuck Schuldiner's parents?	Chuck Schuldiner	Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida. Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER	Jewish father of Austrian descent and a mother from the American South, a convert to Judaism.	Charles Michael Schuldiner (May 13, 1967 – December 13, 2001) was an American singer, songwriter, and guitarist. He founded the band Death in 1983 and was their lead vocalist and guitarist until his death in 2001. His obituary in the January 5, 2002, issue of UK's Kerrang! magazine described him as "one of the most significant figures in the history of metal." Schuldiner was ranked No. 10 in Joel McIver's book The 100 Greatest Metal Guitarists in 2009 and No. 20 in March 2004 Guitar Worlds "The 100 Greatest Metal Guitarists". In 1987, Schuldiner founded the publishing company Mutilation Music, affiliated with performance rights organization BMI. Schuldiner died in 2001 of a brain tumor. Schuldiner is often referred to as "The Godfather of death metal", although he was uncomfortable with this nickname, remarking that "I don't think I should take the credits for this death metal stuff. I'm just a guy from a band, and I think Death is a metal band." Biography Early life Schuldiner was born on May 13, 1967, on Long Island, New York. His father Mal Schuldiner was Jewish and the son of Austrian immigrants, and his mother Jane Schuldiner was from the American South and had converted to Judaism. In 1968, his family moved to Florida. He started playing guitar at the age of 9. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely until his parents bought him an electric guitar at a yard sale. The young Schuldiner immediately took to the instrument and began playing, writing and teaching himself. He was known to spend the weekend in the garage or his room playing his guitar but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Black Sabbath, Judas Priest, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM – New Wave of British Heavy Metal – and cited bands of that genre among his favorites. He frequently cited French band Sortilège as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own songwriting. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensrÿche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education and eventually dropping out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. Musical career Taking inspiration from Nasty Savage, Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death. Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989. After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release. Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview, Schuldiner spoke about why he didn't sing on the Control Denied album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums." Illness and death In 1999, Schuldiner was diagnosed with brain cancer. He continued to work on his music, continuing his work with Control Denied. He was at first unable to afford the surgery that he needed immediately. A press release called for support from everyone, including fellow artists. Jane Schuldiner urged all who read the statements about Schuldiner and his illness to go out and get insurance, stating her frustration in the American healthcare system. Schuldiner had taken out medical insurance after his first surgery, but the insurer had refused to pay because the cancer pre-dated insurance being taken out. Many artists, including Kid Rock, Korn and Red Hot Chili Peppers, got together during the summer of 2001 to auction off personal items, with the funds assisting Schuldiner's medical expenses, an effort covered by MTV. Matt Heafy, vocalist and guitarist for Trivium, has also stated that the band had played a benefit show for Schuldiner while he was in the hospital in their days as a local band. In November 2001, Schuldiner's condition worsened as he became ill with Pneumocystis carinii. On December 13, 2001, Schuldiner died at the age of 34 and was cremated. MTV reported that recording artists including Dave Grohl, Mike Patton, Max Cavalera, King Diamond, Ville Valo, Trey Azagthoth, Glen Benton, Jason Newsted, Corey Taylor, and all former and active members of Death, attended his memorial service. Legacy With the assistance of Schuldiner's family, former manager Eric Greif handled his legacy as President of Perseverance Holdings Ltd. Schuldiner's mother Jane and sister Beth Schuldiner frequently interact with his fans and both have stated many times that they enjoy his music. Greif kept track of his recordings and handled Schuldiner's intellectual property. Beth Schuldiner has a son named Christopher Steele, who also plays guitar and has all of Schuldiner's guitars. BC Rich also released a statement in their 2008 catalog stating that Schuldiner's signature model Stealth will be available for purchase, and that endorsement is overseen by Steele. Schuldiner had homes and two dogs in the area surrounding Orlando. Schuldiner built a studio inside the garage where many of his songs such as "Crystal Mountain" were inspired. Schuldiner's home office was the site of the Metal Crusade newsletter and fan club. A legal battle began from the time of Schuldiner's death on the settlement of the rights to the partially completed second Control Denied album, When Man and Machine Collide, which was recorded in 2000–2001 and was scheduled for release in 2013. Demos of these unreleased Control Denied songs, as well as early Death demos and live Death recordings from 1990, were released in the Zero Tolerance two-part compilation bootlegs by the Dutch Hammerheart Holdings company and the Schuldiners and Greif asserted rights on behalf of Schuldiner's Estate. The matter was settled in November 2009, anticipating the project being finished and released in 2010. Tribute concerts have been coordinated or funded by Schuldiner's mother and family and various Death tribute groups internationally. Former CKY frontman, Deron Miller, who considers Schuldiner an idol of his, got the idea, while working on various projects with former Death guitarist (and pituitary tumor survivor) James Murphy, to do a tribute album. Murphy announced he would release a Chuck Schuldiner tribute album to commemorate his lasting mark on the metal community and Schuldiner's family publicly offered support for Murphy's effort, though it has never materialized. Schuldiner's sister Beth confirmed via her YouTube channel that Death: Live in Japan, a behind the scenes Death video, as well as a potential boxset containing all of Schuldiner's works including some exclusive copies of handwritten notes by Schuldiner are in the works via Relapse Records. Schuldiner Estate lawyer Eric Greif held a charity Chuck Schuldiner Birthday Bash in Calgary, Alberta, May 13, 2011, featuring speeches by Greif and former Death guitarist Paul Masvidal, as well as bands performing Schuldiner's music. Greif repeated this May 12, 2012, with special guest band Massacre, featuring former Death members Rick Rozz and Terry Butler. Book In January 2001, Mahyar Dean, an Iranian metal guitarist/musician, wrote Death, a book about Death and Schuldiner poems. The book includes bilingual lyrics and many articles about the band. The book was sent through the site keepers of emptywords.org to Schuldiner, who in his words was "truly blown away and honored by the obvious work and devotion he put into bringing the book to life". Beliefs Schuldiner designed the Death logo and its various incarnations during the length of his career. In 1991, before the release of Human, he cleaned up the logo taking out more intricate details and the "T" in the logo was swapped from an inverted cross to a more regular looking "T", one reason being to quash any implication of religion. Schuldiner was also openly against hard drugs; he is quoted as saying, "I've tripped several times. That's all because I don't like the hard drugs. And my only drugs are alcohol and grass." Schuldiner also stated that he was pro-choice. He is quoted as saying that "it should be legal. If I was a woman surely I would like to have a choice to have a child or not. In U.S. a lot of new-borns are killed because they were unwanted. It is better to solve it immediately when a woman finds out about the pregnancy and she doesn't want a child. Better to go for an abortion than to kill a baby. That is terrible. Men cannot force women to keep a child when they themselves feel they can't." Musical style Schuldiner was mostly self-taught as a guitarist. In 1993, he expressed a disinterest in music theory: "I know enough about what I'm playing to memorize the scales and things, but I have no idea how you would label them. As long as I can play it, memorize it and apply it, I don't need to know what you call it." In the early days of Death, Schuldiner used a "deep, raspy" death growl vocal technique. He said in 1993 that "it takes a lot of energy and a lot of throat abuse to get through a show." Equipment Guitars Schuldiner's primary guitar throughout most of his career was the B.C. Rich Stealth model, an extremely rare model produced in small amounts under the B.C. Rich US (U-) series name along with the Custom Shop, until it was released to the public as the Chuck Schuldiner Tribute Stealth. The Stealth was also released as an N.J. model in the 1980's and 1990's, but was extremely rare. Prior to this, he used a B.C. Rich Mockingbird copy, built by "someone in Florida", and a B.C Rich Ignitor. Most of Schuldiner's sound came from a DiMarzio X2N pickup placed in the bridge. During the (In)Human Tour of the World (1991–92), Schuldiner briefly endorsed a small Wisconsin custom guitar company called Axtra, who worked with him on designs, though he still insisted on using his B.C. Rich during filming of the Lack of Comprehension video in September 1991 in Orlando. Amplifiers The amplifier he used towards the end of his career was a Marshall Valvestate (Model 8100) amplifier head and Valvestate 4x12 speaker cabinets on Individual Thought Patterns as well as the ITP tour and eventually started using Marshall 1960 cabinets. Before that he used various equipment including Randall RG100ES heads and Randall cabinets, and on the (In)Human Tour of the World he used a small GK 250ML miked up, despite having hollow 4x12 stacks 'for show'. On the first two Death albums, he stated he used a Boss distortion pedal, but didn't specify which, after which he used amplifier distortion. Discography Death 1987: Scream Bloody Gore 1988: Leprosy 1990: Spiritual Healing 1991: Human 1993: Individual Thought Patterns 1995: Symbolic 1998: The Sound of Perseverance Voodoocult 1994: Jesus Killing Machine Control Denied 1999: The Fragile Art of Existence See also Honorific nicknames in popular music References Sources The Metal Crusade, official site of The Death Fan Club Empty Words, official Death/Control Denied archival site 1967 births 2001 deaths Deaths from pneumonia in Florida American heavy metal guitarists American heavy metal singers American people of Austrian-Jewish descent Rhythm guitarists Lead guitarists Death (metal band) members Death metal musicians Deaths from brain tumor Deaths from cancer in Florida Neurological disease deaths in Florida Jewish American musicians Jewish singers Jewish American songwriters Singers from Florida Singers from New York (state) People from Glen Cove, New York Singers from Orlando, Florida People from Altamonte Springs, Florida Progressive metal guitarists Songwriters from Florida Songwriters from New York (state) 20th-century American singers Jewish heavy metal musicians 20th-century American guitarists Guitarists from Florida Guitarists from New York (state) American male guitarists Control Denied members Voodoocult members 20th-century American male singers 20th-century American Jews American male songwriters	false	[ "Djedi was an Egyptian prince who lived during Fourth Dynasty of Egypt. He was a son of Prince Rahotep and Nofret, grandson of pharaoh Sneferu and nephew of pharaoh Khufu. He had two brothers and three sisters. He is depicted in the tomb chapels of his parents and bears there the title \"King's Acquaintance\".\n\nIn an ancient Egyptian tale, \"Khufu and the Magicians\", mention is made of a magician called Djedi or Dedi, and it is possible that this mythical person was inspired by the real prince Djedi, Khufu's nephew.\n\nSee also \n Westcar Papyrus\n\nReferences \n\nPrinces of the Fourth Dynasty of Egypt", "Marcus Aefulanus was a Roman senator, who was active during the reigns of Claudius and Nero. He was suffect consul in the second half of 54. He is known to have held one other office, proconsular governor of the public province of Asia around 66/67. Aefulanus is only known from inscriptions.\n\nLittle is known about Tutor, who is the only member of the gens Aefulana to accede to the consulship, and only a little more about his gens. A Mons Aefulanus (modern Monte Sante Angelo in Arcese) is known, as well as a town of the same name on its slopes; the similar name suggests the suffect consul's family had its origins there. Less than a dozen Aefulani in total are attested, including a Marcus Aefulanus M.l. Primus, who is likely our Aefulanus' freedman or former slave. These include: one Titus Aefulanus, a local magistrate in Forum Cornelii (modern Imola); several wax tablets recovered from Pompeii mention a Publius Aefulanus Crysantus; inscriptions recovered from Augusta Emerita (near Merida, Spain) attest to four people (two freedmen) of that gens present there; and two inscriptions attest to a family of that name. Two letters of Pliny the Younger mention an Aefulanus Marcellinus. Except for the freedman Primus, there is no grounds for any of them being related to the consul.\n\nReferences \n\n1st-century Romans\nSuffect consuls of Imperial Rome\nRoman governors of Asia" ]
[ "Chuck Schuldiner", "Biography", "When was Chuck born?", "May 13, 1967,", "where was he born?", "Long Island, New York", "is there any mention of his parents?", "Jewish father of Austrian descent and a mother from the American South, a convert to Judaism." ]	C_a88c4d67cad347c48cbcf2688f70c807_1	Did he have any siblings?	4	Did Chuck Schuldiner have any siblings?	Chuck Schuldiner	Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida. Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER	Schuldiner was the youngest of three children:	Charles Michael Schuldiner (May 13, 1967 – December 13, 2001) was an American singer, songwriter, and guitarist. He founded the band Death in 1983 and was their lead vocalist and guitarist until his death in 2001. His obituary in the January 5, 2002, issue of UK's Kerrang! magazine described him as "one of the most significant figures in the history of metal." Schuldiner was ranked No. 10 in Joel McIver's book The 100 Greatest Metal Guitarists in 2009 and No. 20 in March 2004 Guitar Worlds "The 100 Greatest Metal Guitarists". In 1987, Schuldiner founded the publishing company Mutilation Music, affiliated with performance rights organization BMI. Schuldiner died in 2001 of a brain tumor. Schuldiner is often referred to as "The Godfather of death metal", although he was uncomfortable with this nickname, remarking that "I don't think I should take the credits for this death metal stuff. I'm just a guy from a band, and I think Death is a metal band." Biography Early life Schuldiner was born on May 13, 1967, on Long Island, New York. His father Mal Schuldiner was Jewish and the son of Austrian immigrants, and his mother Jane Schuldiner was from the American South and had converted to Judaism. In 1968, his family moved to Florida. He started playing guitar at the age of 9. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely until his parents bought him an electric guitar at a yard sale. The young Schuldiner immediately took to the instrument and began playing, writing and teaching himself. He was known to spend the weekend in the garage or his room playing his guitar but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Black Sabbath, Judas Priest, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM – New Wave of British Heavy Metal – and cited bands of that genre among his favorites. He frequently cited French band Sortilège as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own songwriting. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensrÿche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education and eventually dropping out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. Musical career Taking inspiration from Nasty Savage, Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death. Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989. After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release. Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview, Schuldiner spoke about why he didn't sing on the Control Denied album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums." Illness and death In 1999, Schuldiner was diagnosed with brain cancer. He continued to work on his music, continuing his work with Control Denied. He was at first unable to afford the surgery that he needed immediately. A press release called for support from everyone, including fellow artists. Jane Schuldiner urged all who read the statements about Schuldiner and his illness to go out and get insurance, stating her frustration in the American healthcare system. Schuldiner had taken out medical insurance after his first surgery, but the insurer had refused to pay because the cancer pre-dated insurance being taken out. Many artists, including Kid Rock, Korn and Red Hot Chili Peppers, got together during the summer of 2001 to auction off personal items, with the funds assisting Schuldiner's medical expenses, an effort covered by MTV. Matt Heafy, vocalist and guitarist for Trivium, has also stated that the band had played a benefit show for Schuldiner while he was in the hospital in their days as a local band. In November 2001, Schuldiner's condition worsened as he became ill with Pneumocystis carinii. On December 13, 2001, Schuldiner died at the age of 34 and was cremated. MTV reported that recording artists including Dave Grohl, Mike Patton, Max Cavalera, King Diamond, Ville Valo, Trey Azagthoth, Glen Benton, Jason Newsted, Corey Taylor, and all former and active members of Death, attended his memorial service. Legacy With the assistance of Schuldiner's family, former manager Eric Greif handled his legacy as President of Perseverance Holdings Ltd. Schuldiner's mother Jane and sister Beth Schuldiner frequently interact with his fans and both have stated many times that they enjoy his music. Greif kept track of his recordings and handled Schuldiner's intellectual property. Beth Schuldiner has a son named Christopher Steele, who also plays guitar and has all of Schuldiner's guitars. BC Rich also released a statement in their 2008 catalog stating that Schuldiner's signature model Stealth will be available for purchase, and that endorsement is overseen by Steele. Schuldiner had homes and two dogs in the area surrounding Orlando. Schuldiner built a studio inside the garage where many of his songs such as "Crystal Mountain" were inspired. Schuldiner's home office was the site of the Metal Crusade newsletter and fan club. A legal battle began from the time of Schuldiner's death on the settlement of the rights to the partially completed second Control Denied album, When Man and Machine Collide, which was recorded in 2000–2001 and was scheduled for release in 2013. Demos of these unreleased Control Denied songs, as well as early Death demos and live Death recordings from 1990, were released in the Zero Tolerance two-part compilation bootlegs by the Dutch Hammerheart Holdings company and the Schuldiners and Greif asserted rights on behalf of Schuldiner's Estate. The matter was settled in November 2009, anticipating the project being finished and released in 2010. Tribute concerts have been coordinated or funded by Schuldiner's mother and family and various Death tribute groups internationally. Former CKY frontman, Deron Miller, who considers Schuldiner an idol of his, got the idea, while working on various projects with former Death guitarist (and pituitary tumor survivor) James Murphy, to do a tribute album. Murphy announced he would release a Chuck Schuldiner tribute album to commemorate his lasting mark on the metal community and Schuldiner's family publicly offered support for Murphy's effort, though it has never materialized. Schuldiner's sister Beth confirmed via her YouTube channel that Death: Live in Japan, a behind the scenes Death video, as well as a potential boxset containing all of Schuldiner's works including some exclusive copies of handwritten notes by Schuldiner are in the works via Relapse Records. Schuldiner Estate lawyer Eric Greif held a charity Chuck Schuldiner Birthday Bash in Calgary, Alberta, May 13, 2011, featuring speeches by Greif and former Death guitarist Paul Masvidal, as well as bands performing Schuldiner's music. Greif repeated this May 12, 2012, with special guest band Massacre, featuring former Death members Rick Rozz and Terry Butler. Book In January 2001, Mahyar Dean, an Iranian metal guitarist/musician, wrote Death, a book about Death and Schuldiner poems. The book includes bilingual lyrics and many articles about the band. The book was sent through the site keepers of emptywords.org to Schuldiner, who in his words was "truly blown away and honored by the obvious work and devotion he put into bringing the book to life". Beliefs Schuldiner designed the Death logo and its various incarnations during the length of his career. In 1991, before the release of Human, he cleaned up the logo taking out more intricate details and the "T" in the logo was swapped from an inverted cross to a more regular looking "T", one reason being to quash any implication of religion. Schuldiner was also openly against hard drugs; he is quoted as saying, "I've tripped several times. That's all because I don't like the hard drugs. And my only drugs are alcohol and grass." Schuldiner also stated that he was pro-choice. He is quoted as saying that "it should be legal. If I was a woman surely I would like to have a choice to have a child or not. In U.S. a lot of new-borns are killed because they were unwanted. It is better to solve it immediately when a woman finds out about the pregnancy and she doesn't want a child. Better to go for an abortion than to kill a baby. That is terrible. Men cannot force women to keep a child when they themselves feel they can't." Musical style Schuldiner was mostly self-taught as a guitarist. In 1993, he expressed a disinterest in music theory: "I know enough about what I'm playing to memorize the scales and things, but I have no idea how you would label them. As long as I can play it, memorize it and apply it, I don't need to know what you call it." In the early days of Death, Schuldiner used a "deep, raspy" death growl vocal technique. He said in 1993 that "it takes a lot of energy and a lot of throat abuse to get through a show." Equipment Guitars Schuldiner's primary guitar throughout most of his career was the B.C. Rich Stealth model, an extremely rare model produced in small amounts under the B.C. Rich US (U-) series name along with the Custom Shop, until it was released to the public as the Chuck Schuldiner Tribute Stealth. The Stealth was also released as an N.J. model in the 1980's and 1990's, but was extremely rare. Prior to this, he used a B.C. Rich Mockingbird copy, built by "someone in Florida", and a B.C Rich Ignitor. Most of Schuldiner's sound came from a DiMarzio X2N pickup placed in the bridge. During the (In)Human Tour of the World (1991–92), Schuldiner briefly endorsed a small Wisconsin custom guitar company called Axtra, who worked with him on designs, though he still insisted on using his B.C. Rich during filming of the Lack of Comprehension video in September 1991 in Orlando. Amplifiers The amplifier he used towards the end of his career was a Marshall Valvestate (Model 8100) amplifier head and Valvestate 4x12 speaker cabinets on Individual Thought Patterns as well as the ITP tour and eventually started using Marshall 1960 cabinets. Before that he used various equipment including Randall RG100ES heads and Randall cabinets, and on the (In)Human Tour of the World he used a small GK 250ML miked up, despite having hollow 4x12 stacks 'for show'. On the first two Death albums, he stated he used a Boss distortion pedal, but didn't specify which, after which he used amplifier distortion. Discography Death 1987: Scream Bloody Gore 1988: Leprosy 1990: Spiritual Healing 1991: Human 1993: Individual Thought Patterns 1995: Symbolic 1998: The Sound of Perseverance Voodoocult 1994: Jesus Killing Machine Control Denied 1999: The Fragile Art of Existence See also Honorific nicknames in popular music References Sources The Metal Crusade, official site of The Death Fan Club Empty Words, official Death/Control Denied archival site 1967 births 2001 deaths Deaths from pneumonia in Florida American heavy metal guitarists American heavy metal singers American people of Austrian-Jewish descent Rhythm guitarists Lead guitarists Death (metal band) members Death metal musicians Deaths from brain tumor Deaths from cancer in Florida Neurological disease deaths in Florida Jewish American musicians Jewish singers Jewish American songwriters Singers from Florida Singers from New York (state) People from Glen Cove, New York Singers from Orlando, Florida People from Altamonte Springs, Florida Progressive metal guitarists Songwriters from Florida Songwriters from New York (state) 20th-century American singers Jewish heavy metal musicians 20th-century American guitarists Guitarists from Florida Guitarists from New York (state) American male guitarists Control Denied members Voodoocult members 20th-century American male singers 20th-century American Jews American male songwriters	false	[ "An only child is a person who does not have any siblings, neither biological nor adopted.\n\nOnly Child may also refer to:\n\n Only Child (novel), a novel by Jack Ketchum\n Only Child, a 2020 album by Sasha Sloan", "John August Kusche (1869 – 1934) was a renowned botanist and entomologist, and he discovered many new species of moths and butterflies. The plant of the aster family, Erigeron kuschei is named in his honor.\n\nNotable discoveries \n\nIn 1928, Kusche donated to the Bishop Museum 164 species of Lepidoptera he collected on Kauai between 1919 and 1920. Of those, 55 species had not previously been recorded on Kauai and 6 were new to science, namely Agrotis stenospila, Euxoa charmocrita, Plusia violacea, Nesamiptis senicula, Nesamiptis proterortha and Scotorythra crocorrhoa.\n\nThe Essig Museum of Entomology lists 26 species collected by Kusche from California, Baja California, Arizona, Alaska and on the Solomon Islands.\n\nEarly life \nHis father's name was Johann Karl Wilhelm Kusche, he remarried in 1883 to Johanna Susanna Niesar. He had three siblings from his father (Herman, Ernst and Pauline) and four half siblings from her second marriage (Bertha, Wilhelm, Heinrich and Reinhold. There were two other children from this marriage, which died young and whom were not recorded). His family were farmers, while he lived with them, in Kreuzburg, Germany.\n\nHis siblings quickly accustomed themselves to their new mother, however August, the eldest, did not get on easily with her. He attended a gardening school there in Kreuzburg. He left at a relatively young age after unintentionally setting a forest fire. \"One day on a walk through Kreuzburg forest, he unintentionally caused a huge forest fire. Fearing jail, he fled from home and somehow made it to America.\"\n\nHe wrote letters back to his family, urging them to come to America. His father eventually did, sometime shortly after February 1893. His father started a homestead in Brownsville, Texas. Yellow fever broke out and his father caught it. He managed to survive, while many did not, leaving him a sick old man in his mid-fifties. He wrote to August, who was then living it Prescott, Arizona, asking for money. August wrote back, saying \"Dear father, if you are out of money, see to it that you go back to Germany as soon as possible. Without any money here, you are lost,\" \n\nAugust didn't have any money either, and had been hoping to borrow money from his father. If he had wanted to visit him, then he would have had to make the trip on foot.\n\nWhen August arrived in America, he got a job as a gardener on a Pennsylvania farm. He had an affair with a Swiss woman, which resulted in a child. August denied being the child's father, but married her anyway. He went west, on horseback, and had his horse stolen by Native Americans. He ended up in San Francisco. His family joined him there. By this time he had three sons and a daughter.\n\nAfter his children grew up, he began traveling and collecting moths and butterflies.\n\nLater life \nHe traveled to the South Seas where he collected moths and butterflies. There he caught a terrible fever that very nearly killed him. He was picked up by a government ship in New Guinea, and was unconscious until he awoke in a San Francisco hospital. After that time he had hearing loss and lost all of his teeth. His doctor told him not to take any more trips to Alaska, and this apparently helped his condition.\n\nIn 1924 he lived in San Diego. He had taken a trip to Alaska just before this date. He worked as a gardener in California for nine years (1915–1924) where he died of stomach cancer.\n\nReferences \n\n19th-century German botanists\n1869 births\n1934 deaths\n20th-century American botanists\nGerman emigrants to the United States" ]
[ "Chuck Schuldiner", "Biography", "When was Chuck born?", "May 13, 1967,", "where was he born?", "Long Island, New York", "is there any mention of his parents?", "Jewish father of Austrian descent and a mother from the American South, a convert to Judaism.", "Did he have any siblings?", "Schuldiner was the youngest of three children:" ]	C_a88c4d67cad347c48cbcf2688f70c807_1	When did he start playing music?	5	When did Chuck Schuldiner start playing music?	Chuck Schuldiner	Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida. Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER	He started playing guitar at the age of 9;	Charles Michael Schuldiner (May 13, 1967 – December 13, 2001) was an American singer, songwriter, and guitarist. He founded the band Death in 1983 and was their lead vocalist and guitarist until his death in 2001. His obituary in the January 5, 2002, issue of UK's Kerrang! magazine described him as "one of the most significant figures in the history of metal." Schuldiner was ranked No. 10 in Joel McIver's book The 100 Greatest Metal Guitarists in 2009 and No. 20 in March 2004 Guitar Worlds "The 100 Greatest Metal Guitarists". In 1987, Schuldiner founded the publishing company Mutilation Music, affiliated with performance rights organization BMI. Schuldiner died in 2001 of a brain tumor. Schuldiner is often referred to as "The Godfather of death metal", although he was uncomfortable with this nickname, remarking that "I don't think I should take the credits for this death metal stuff. I'm just a guy from a band, and I think Death is a metal band." Biography Early life Schuldiner was born on May 13, 1967, on Long Island, New York. His father Mal Schuldiner was Jewish and the son of Austrian immigrants, and his mother Jane Schuldiner was from the American South and had converted to Judaism. In 1968, his family moved to Florida. He started playing guitar at the age of 9. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely until his parents bought him an electric guitar at a yard sale. The young Schuldiner immediately took to the instrument and began playing, writing and teaching himself. He was known to spend the weekend in the garage or his room playing his guitar but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Black Sabbath, Judas Priest, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM – New Wave of British Heavy Metal – and cited bands of that genre among his favorites. He frequently cited French band Sortilège as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own songwriting. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensrÿche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education and eventually dropping out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. Musical career Taking inspiration from Nasty Savage, Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death. Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989. After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release. Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview, Schuldiner spoke about why he didn't sing on the Control Denied album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums." Illness and death In 1999, Schuldiner was diagnosed with brain cancer. He continued to work on his music, continuing his work with Control Denied. He was at first unable to afford the surgery that he needed immediately. A press release called for support from everyone, including fellow artists. Jane Schuldiner urged all who read the statements about Schuldiner and his illness to go out and get insurance, stating her frustration in the American healthcare system. Schuldiner had taken out medical insurance after his first surgery, but the insurer had refused to pay because the cancer pre-dated insurance being taken out. Many artists, including Kid Rock, Korn and Red Hot Chili Peppers, got together during the summer of 2001 to auction off personal items, with the funds assisting Schuldiner's medical expenses, an effort covered by MTV. Matt Heafy, vocalist and guitarist for Trivium, has also stated that the band had played a benefit show for Schuldiner while he was in the hospital in their days as a local band. In November 2001, Schuldiner's condition worsened as he became ill with Pneumocystis carinii. On December 13, 2001, Schuldiner died at the age of 34 and was cremated. MTV reported that recording artists including Dave Grohl, Mike Patton, Max Cavalera, King Diamond, Ville Valo, Trey Azagthoth, Glen Benton, Jason Newsted, Corey Taylor, and all former and active members of Death, attended his memorial service. Legacy With the assistance of Schuldiner's family, former manager Eric Greif handled his legacy as President of Perseverance Holdings Ltd. Schuldiner's mother Jane and sister Beth Schuldiner frequently interact with his fans and both have stated many times that they enjoy his music. Greif kept track of his recordings and handled Schuldiner's intellectual property. Beth Schuldiner has a son named Christopher Steele, who also plays guitar and has all of Schuldiner's guitars. BC Rich also released a statement in their 2008 catalog stating that Schuldiner's signature model Stealth will be available for purchase, and that endorsement is overseen by Steele. Schuldiner had homes and two dogs in the area surrounding Orlando. Schuldiner built a studio inside the garage where many of his songs such as "Crystal Mountain" were inspired. Schuldiner's home office was the site of the Metal Crusade newsletter and fan club. A legal battle began from the time of Schuldiner's death on the settlement of the rights to the partially completed second Control Denied album, When Man and Machine Collide, which was recorded in 2000–2001 and was scheduled for release in 2013. Demos of these unreleased Control Denied songs, as well as early Death demos and live Death recordings from 1990, were released in the Zero Tolerance two-part compilation bootlegs by the Dutch Hammerheart Holdings company and the Schuldiners and Greif asserted rights on behalf of Schuldiner's Estate. The matter was settled in November 2009, anticipating the project being finished and released in 2010. Tribute concerts have been coordinated or funded by Schuldiner's mother and family and various Death tribute groups internationally. Former CKY frontman, Deron Miller, who considers Schuldiner an idol of his, got the idea, while working on various projects with former Death guitarist (and pituitary tumor survivor) James Murphy, to do a tribute album. Murphy announced he would release a Chuck Schuldiner tribute album to commemorate his lasting mark on the metal community and Schuldiner's family publicly offered support for Murphy's effort, though it has never materialized. Schuldiner's sister Beth confirmed via her YouTube channel that Death: Live in Japan, a behind the scenes Death video, as well as a potential boxset containing all of Schuldiner's works including some exclusive copies of handwritten notes by Schuldiner are in the works via Relapse Records. Schuldiner Estate lawyer Eric Greif held a charity Chuck Schuldiner Birthday Bash in Calgary, Alberta, May 13, 2011, featuring speeches by Greif and former Death guitarist Paul Masvidal, as well as bands performing Schuldiner's music. Greif repeated this May 12, 2012, with special guest band Massacre, featuring former Death members Rick Rozz and Terry Butler. Book In January 2001, Mahyar Dean, an Iranian metal guitarist/musician, wrote Death, a book about Death and Schuldiner poems. The book includes bilingual lyrics and many articles about the band. The book was sent through the site keepers of emptywords.org to Schuldiner, who in his words was "truly blown away and honored by the obvious work and devotion he put into bringing the book to life". Beliefs Schuldiner designed the Death logo and its various incarnations during the length of his career. In 1991, before the release of Human, he cleaned up the logo taking out more intricate details and the "T" in the logo was swapped from an inverted cross to a more regular looking "T", one reason being to quash any implication of religion. Schuldiner was also openly against hard drugs; he is quoted as saying, "I've tripped several times. That's all because I don't like the hard drugs. And my only drugs are alcohol and grass." Schuldiner also stated that he was pro-choice. He is quoted as saying that "it should be legal. If I was a woman surely I would like to have a choice to have a child or not. In U.S. a lot of new-borns are killed because they were unwanted. It is better to solve it immediately when a woman finds out about the pregnancy and she doesn't want a child. Better to go for an abortion than to kill a baby. That is terrible. Men cannot force women to keep a child when they themselves feel they can't." Musical style Schuldiner was mostly self-taught as a guitarist. In 1993, he expressed a disinterest in music theory: "I know enough about what I'm playing to memorize the scales and things, but I have no idea how you would label them. As long as I can play it, memorize it and apply it, I don't need to know what you call it." In the early days of Death, Schuldiner used a "deep, raspy" death growl vocal technique. He said in 1993 that "it takes a lot of energy and a lot of throat abuse to get through a show." Equipment Guitars Schuldiner's primary guitar throughout most of his career was the B.C. Rich Stealth model, an extremely rare model produced in small amounts under the B.C. Rich US (U-) series name along with the Custom Shop, until it was released to the public as the Chuck Schuldiner Tribute Stealth. The Stealth was also released as an N.J. model in the 1980's and 1990's, but was extremely rare. Prior to this, he used a B.C. Rich Mockingbird copy, built by "someone in Florida", and a B.C Rich Ignitor. Most of Schuldiner's sound came from a DiMarzio X2N pickup placed in the bridge. During the (In)Human Tour of the World (1991–92), Schuldiner briefly endorsed a small Wisconsin custom guitar company called Axtra, who worked with him on designs, though he still insisted on using his B.C. Rich during filming of the Lack of Comprehension video in September 1991 in Orlando. Amplifiers The amplifier he used towards the end of his career was a Marshall Valvestate (Model 8100) amplifier head and Valvestate 4x12 speaker cabinets on Individual Thought Patterns as well as the ITP tour and eventually started using Marshall 1960 cabinets. Before that he used various equipment including Randall RG100ES heads and Randall cabinets, and on the (In)Human Tour of the World he used a small GK 250ML miked up, despite having hollow 4x12 stacks 'for show'. On the first two Death albums, he stated he used a Boss distortion pedal, but didn't specify which, after which he used amplifier distortion. Discography Death 1987: Scream Bloody Gore 1988: Leprosy 1990: Spiritual Healing 1991: Human 1993: Individual Thought Patterns 1995: Symbolic 1998: The Sound of Perseverance Voodoocult 1994: Jesus Killing Machine Control Denied 1999: The Fragile Art of Existence See also Honorific nicknames in popular music References Sources The Metal Crusade, official site of The Death Fan Club Empty Words, official Death/Control Denied archival site 1967 births 2001 deaths Deaths from pneumonia in Florida American heavy metal guitarists American heavy metal singers American people of Austrian-Jewish descent Rhythm guitarists Lead guitarists Death (metal band) members Death metal musicians Deaths from brain tumor Deaths from cancer in Florida Neurological disease deaths in Florida Jewish American musicians Jewish singers Jewish American songwriters Singers from Florida Singers from New York (state) People from Glen Cove, New York Singers from Orlando, Florida People from Altamonte Springs, Florida Progressive metal guitarists Songwriters from Florida Songwriters from New York (state) 20th-century American singers Jewish heavy metal musicians 20th-century American guitarists Guitarists from Florida Guitarists from New York (state) American male guitarists Control Denied members Voodoocult members 20th-century American male singers 20th-century American Jews American male songwriters	false	[ "Merle \"Red\" Taylor (May 19, 1927 - May 3, 1987) was an American musician.\n\nEarly life\nTaylor was born in Saltillo, Mississippi. Taylor began playing his fiddle at an early age and was asked to play at several local events growing up. At the age of fifteen, he got his own first show in Tupelo, Mississippi. Later on, he moved to Nashville, Tennessee to start his career in music.\n\nCareer\nTaylor then took a break from music and joined the military, but eventually moved back to Nashville and got to perform at the Grand Ole Opry. Merle was also one of Bill Monroe's fiddlers and helped contribute to the start of bluegrass music. Monroe took interest in Merle \"Red\" Taylor when he composed an ear-catching melody. Monroe liked the way it sounded, and by his next recording session on October 15, 1950, he set words to Taylor's tune. He made it his own and as a tribute to \"Uncle Pen.\" It became one of his most requested songs, and Taylor remained uncredited. Red impressed hundreds of fiddlers with the bowing technique he used. As Gordon Terry, the man who placed him as a fiddle player in Monro's band, explained, \"He did a slow bow with a lot of finger work and a funner reverse...I don't think there would be the tunes there are now, had he not played fiddle because he did something nobody did.\" Merle \"Red\" Taylor played with Paul Howard, Cowboy Copas, and Hank Williams in addition to Monroe's Blue Grass Boys.\n\nReferences \n\n1927 births\n1987 deaths\nPeople from Saltillo, Mississippi\nAmerican bluegrass fiddlers\n20th-century American musicians\nCountry musicians from Mississippi", "Gilbert Lloyd \"Gil\" Coggins (August 23, 1924 – February 15, 2004) was an American jazz pianist.\n\nCoggins was born to parents of West Indian heritage. His mother was a pianist and had her son start on piano from an early age. He attended school in New York City and Barbados. In Harlem, New York City, he attended The High School of Music & Art.\n\nIn 1946, Coggins met Miles Davis while stationed at Jefferson Barracks in Missouri. After his discharge he began playing piano professionally, working with Davis on several of his Blue Note and Prestige releases. Coggins also recorded with John Coltrane, Sonny Rollins, Lester Young, Art Blakey's Jazz Messengers, Ray Draper, and Jackie McLean.\n\nCoggins gave up playing jazz professionally in 1954 and took up a career in real estate, playing music only occasionally. He did not record as a leader until 1990, when Interplay Records released Gil's Mood. He continued performing through the 1990s and 2000s until 2004, when he died from complications sustained in a car crash eight months earlier in Forest Hills, New York. Better Late Than Never, his second album recorded as a leader, was released posthumously.\n\nDiscography\nGil's Mood (Interplay, 1990)\nBetter Late Than Never (2003)\n\nAs sideman\nWith Miles Davis\nMiles Davis Volume 1 (Blue Note, 1956)\nMiles Davis Volume 2 (Blue Note, 1956)\nWith Ray Draper\nThe Ray Draper Quintet featuring John Coltrane (New Jazz, 1957)\nWith Jackie McLean\nFat Jazz (Jubilee, 1959)\nMakin' the Changes (New Jazz, 1960)\nA Long Drink of the Blues (New Jazz, 1961)\nStrange Blues (Prestige, 1967)\n\nReferences\n\nExternal links\nMemorial site created by Coggins's family\nGil Coggins at Discogs\nGil Coggins at JazzTimes\n\n1928 births\n2004 deaths\nAmerican jazz pianists\nAmerican male pianists\n20th-century American pianists\nThe High School of Music & Art alumni\nJazz musicians from New York (state)\n20th-century American male musicians\nAmerican male jazz musicians" ]
[ "Chuck Schuldiner", "Biography", "When was Chuck born?", "May 13, 1967,", "where was he born?", "Long Island, New York", "is there any mention of his parents?", "Jewish father of Austrian descent and a mother from the American South, a convert to Judaism.", "Did he have any siblings?", "Schuldiner was the youngest of three children:", "When did he start playing music?", "He started playing guitar at the age of 9;" ]	C_a88c4d67cad347c48cbcf2688f70c807_1	Why did he choose guitar?	6	Why did Chuck Schuldiner choose to play guitar?	Chuck Schuldiner	Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida. Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER	his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief.	Charles Michael Schuldiner (May 13, 1967 – December 13, 2001) was an American singer, songwriter, and guitarist. He founded the band Death in 1983 and was their lead vocalist and guitarist until his death in 2001. His obituary in the January 5, 2002, issue of UK's Kerrang! magazine described him as "one of the most significant figures in the history of metal." Schuldiner was ranked No. 10 in Joel McIver's book The 100 Greatest Metal Guitarists in 2009 and No. 20 in March 2004 Guitar Worlds "The 100 Greatest Metal Guitarists". In 1987, Schuldiner founded the publishing company Mutilation Music, affiliated with performance rights organization BMI. Schuldiner died in 2001 of a brain tumor. Schuldiner is often referred to as "The Godfather of death metal", although he was uncomfortable with this nickname, remarking that "I don't think I should take the credits for this death metal stuff. I'm just a guy from a band, and I think Death is a metal band." Biography Early life Schuldiner was born on May 13, 1967, on Long Island, New York. His father Mal Schuldiner was Jewish and the son of Austrian immigrants, and his mother Jane Schuldiner was from the American South and had converted to Judaism. In 1968, his family moved to Florida. He started playing guitar at the age of 9. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely until his parents bought him an electric guitar at a yard sale. The young Schuldiner immediately took to the instrument and began playing, writing and teaching himself. He was known to spend the weekend in the garage or his room playing his guitar but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Black Sabbath, Judas Priest, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM – New Wave of British Heavy Metal – and cited bands of that genre among his favorites. He frequently cited French band Sortilège as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own songwriting. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensrÿche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education and eventually dropping out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. Musical career Taking inspiration from Nasty Savage, Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death. Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989. After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release. Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview, Schuldiner spoke about why he didn't sing on the Control Denied album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums." Illness and death In 1999, Schuldiner was diagnosed with brain cancer. He continued to work on his music, continuing his work with Control Denied. He was at first unable to afford the surgery that he needed immediately. A press release called for support from everyone, including fellow artists. Jane Schuldiner urged all who read the statements about Schuldiner and his illness to go out and get insurance, stating her frustration in the American healthcare system. Schuldiner had taken out medical insurance after his first surgery, but the insurer had refused to pay because the cancer pre-dated insurance being taken out. Many artists, including Kid Rock, Korn and Red Hot Chili Peppers, got together during the summer of 2001 to auction off personal items, with the funds assisting Schuldiner's medical expenses, an effort covered by MTV. Matt Heafy, vocalist and guitarist for Trivium, has also stated that the band had played a benefit show for Schuldiner while he was in the hospital in their days as a local band. In November 2001, Schuldiner's condition worsened as he became ill with Pneumocystis carinii. On December 13, 2001, Schuldiner died at the age of 34 and was cremated. MTV reported that recording artists including Dave Grohl, Mike Patton, Max Cavalera, King Diamond, Ville Valo, Trey Azagthoth, Glen Benton, Jason Newsted, Corey Taylor, and all former and active members of Death, attended his memorial service. Legacy With the assistance of Schuldiner's family, former manager Eric Greif handled his legacy as President of Perseverance Holdings Ltd. Schuldiner's mother Jane and sister Beth Schuldiner frequently interact with his fans and both have stated many times that they enjoy his music. Greif kept track of his recordings and handled Schuldiner's intellectual property. Beth Schuldiner has a son named Christopher Steele, who also plays guitar and has all of Schuldiner's guitars. BC Rich also released a statement in their 2008 catalog stating that Schuldiner's signature model Stealth will be available for purchase, and that endorsement is overseen by Steele. Schuldiner had homes and two dogs in the area surrounding Orlando. Schuldiner built a studio inside the garage where many of his songs such as "Crystal Mountain" were inspired. Schuldiner's home office was the site of the Metal Crusade newsletter and fan club. A legal battle began from the time of Schuldiner's death on the settlement of the rights to the partially completed second Control Denied album, When Man and Machine Collide, which was recorded in 2000–2001 and was scheduled for release in 2013. Demos of these unreleased Control Denied songs, as well as early Death demos and live Death recordings from 1990, were released in the Zero Tolerance two-part compilation bootlegs by the Dutch Hammerheart Holdings company and the Schuldiners and Greif asserted rights on behalf of Schuldiner's Estate. The matter was settled in November 2009, anticipating the project being finished and released in 2010. Tribute concerts have been coordinated or funded by Schuldiner's mother and family and various Death tribute groups internationally. Former CKY frontman, Deron Miller, who considers Schuldiner an idol of his, got the idea, while working on various projects with former Death guitarist (and pituitary tumor survivor) James Murphy, to do a tribute album. Murphy announced he would release a Chuck Schuldiner tribute album to commemorate his lasting mark on the metal community and Schuldiner's family publicly offered support for Murphy's effort, though it has never materialized. Schuldiner's sister Beth confirmed via her YouTube channel that Death: Live in Japan, a behind the scenes Death video, as well as a potential boxset containing all of Schuldiner's works including some exclusive copies of handwritten notes by Schuldiner are in the works via Relapse Records. Schuldiner Estate lawyer Eric Greif held a charity Chuck Schuldiner Birthday Bash in Calgary, Alberta, May 13, 2011, featuring speeches by Greif and former Death guitarist Paul Masvidal, as well as bands performing Schuldiner's music. Greif repeated this May 12, 2012, with special guest band Massacre, featuring former Death members Rick Rozz and Terry Butler. Book In January 2001, Mahyar Dean, an Iranian metal guitarist/musician, wrote Death, a book about Death and Schuldiner poems. The book includes bilingual lyrics and many articles about the band. The book was sent through the site keepers of emptywords.org to Schuldiner, who in his words was "truly blown away and honored by the obvious work and devotion he put into bringing the book to life". Beliefs Schuldiner designed the Death logo and its various incarnations during the length of his career. In 1991, before the release of Human, he cleaned up the logo taking out more intricate details and the "T" in the logo was swapped from an inverted cross to a more regular looking "T", one reason being to quash any implication of religion. Schuldiner was also openly against hard drugs; he is quoted as saying, "I've tripped several times. That's all because I don't like the hard drugs. And my only drugs are alcohol and grass." Schuldiner also stated that he was pro-choice. He is quoted as saying that "it should be legal. If I was a woman surely I would like to have a choice to have a child or not. In U.S. a lot of new-borns are killed because they were unwanted. It is better to solve it immediately when a woman finds out about the pregnancy and she doesn't want a child. Better to go for an abortion than to kill a baby. That is terrible. Men cannot force women to keep a child when they themselves feel they can't." Musical style Schuldiner was mostly self-taught as a guitarist. In 1993, he expressed a disinterest in music theory: "I know enough about what I'm playing to memorize the scales and things, but I have no idea how you would label them. As long as I can play it, memorize it and apply it, I don't need to know what you call it." In the early days of Death, Schuldiner used a "deep, raspy" death growl vocal technique. He said in 1993 that "it takes a lot of energy and a lot of throat abuse to get through a show." Equipment Guitars Schuldiner's primary guitar throughout most of his career was the B.C. Rich Stealth model, an extremely rare model produced in small amounts under the B.C. Rich US (U-) series name along with the Custom Shop, until it was released to the public as the Chuck Schuldiner Tribute Stealth. The Stealth was also released as an N.J. model in the 1980's and 1990's, but was extremely rare. Prior to this, he used a B.C. Rich Mockingbird copy, built by "someone in Florida", and a B.C Rich Ignitor. Most of Schuldiner's sound came from a DiMarzio X2N pickup placed in the bridge. During the (In)Human Tour of the World (1991–92), Schuldiner briefly endorsed a small Wisconsin custom guitar company called Axtra, who worked with him on designs, though he still insisted on using his B.C. Rich during filming of the Lack of Comprehension video in September 1991 in Orlando. Amplifiers The amplifier he used towards the end of his career was a Marshall Valvestate (Model 8100) amplifier head and Valvestate 4x12 speaker cabinets on Individual Thought Patterns as well as the ITP tour and eventually started using Marshall 1960 cabinets. Before that he used various equipment including Randall RG100ES heads and Randall cabinets, and on the (In)Human Tour of the World he used a small GK 250ML miked up, despite having hollow 4x12 stacks 'for show'. On the first two Death albums, he stated he used a Boss distortion pedal, but didn't specify which, after which he used amplifier distortion. Discography Death 1987: Scream Bloody Gore 1988: Leprosy 1990: Spiritual Healing 1991: Human 1993: Individual Thought Patterns 1995: Symbolic 1998: The Sound of Perseverance Voodoocult 1994: Jesus Killing Machine Control Denied 1999: The Fragile Art of Existence See also Honorific nicknames in popular music References Sources The Metal Crusade, official site of The Death Fan Club Empty Words, official Death/Control Denied archival site 1967 births 2001 deaths Deaths from pneumonia in Florida American heavy metal guitarists American heavy metal singers American people of Austrian-Jewish descent Rhythm guitarists Lead guitarists Death (metal band) members Death metal musicians Deaths from brain tumor Deaths from cancer in Florida Neurological disease deaths in Florida Jewish American musicians Jewish singers Jewish American songwriters Singers from Florida Singers from New York (state) People from Glen Cove, New York Singers from Orlando, Florida People from Altamonte Springs, Florida Progressive metal guitarists Songwriters from Florida Songwriters from New York (state) 20th-century American singers Jewish heavy metal musicians 20th-century American guitarists Guitarists from Florida Guitarists from New York (state) American male guitarists Control Denied members Voodoocult members 20th-century American male singers 20th-century American Jews American male songwriters	false	[ "From Left to Right is an album by American jazz pianist Bill Evans, released in 1971.\n\nReissues\n From Left to Right was reissued on CD by Verve Records on November 13, 1998 with bonus tracks.\nFrom Left to Right was reissued on CD by Universal in 2005 with the same bonus tracks as the 1998 release.\n\nTrack listing\n \"What Are You Doing the Rest of Your Life?\" (Alan Bergman, Marilyn Bergman, Michel Legrand) – 4:05\n \"I'm All Smiles\" (Michael Leonard, Herbert Martin) – 5:42\n \"Why Did I Choose You?\" (Leonard, Martin) – 5:04\n \"Soirée\" (Earl Zindars) – 3:24\n \"The Dolphin-Before\" (Luíz Eça) – 3:05\n \"The Dolphin-After\" (Luíz Eça) – 3:06\n \"Lullaby for Helene\" (Earl Zindars) – 2:50\n \"Like Someone in Love\" (Johnny Burke, Jimmy Van Heusen) – 5:38\n \"Children's Play Song\" (Evans) – 4:11\nBonus tracks:\n \"What Are You Doing the Rest of Your Life?\" (Bergman, Bergman, Legrand) – 4:44\n \"Why Did I Choose You?\" (Leonard, Martin) – 4:18\n \"Soirée\" [alternate take] (Earl Zindars) – 3:26\n \"Lullaby for Helene\" (Earl Zindars) – 2:39\n\nPersonnel\nBill Evans – Steinway grand piano, Fender-Rhodes electric piano\nEddie Gómez – bass\nMarty Morell – drums\nSam Brown – guitar\nMichael Leonard – conductor, arranger\nUnidentified brass, woodwinds and strings\n\nReferences\n\nExternal links\nJazz Discography entries for Bill Evans\nBill Evans Memorial Library discography\n\n1971 albums\nBill Evans albums\nMGM Records albums\nVerve Records albums", "Thinking of You is an album by saxophonist Houston Person which was recorded in 2007 and released on the HighNote label.\n\nReception\n\nIn his review on Allmusic, Michael G. Nastos states \"Person, one of the more consistent jazz performers over the past few decades, is reliable primarily for his soft soul, which holds him and his fans in good stead. This CD is no less enjoyable than many others he has recently released, and is easily recommended\". On All About Jazz, Karla Cornejo Villavincencio noted \"On tracks like \"Why Did I Choose You?\" and \"People,\" he exhibits a dexterity that most contemporary jazz musicians would envy\". In JazzTimes, William Ruhlmann wrote: \"the album provides numerous examples of Person’s usual virtues, not the least of them his abilities as a blues player ... this sounds like an album that could have been made any time in the last 40 years, but that only confirms Person’s consistency\".\n\nTrack listing \n \"Rock Me to Sleep\" (Benny Carter, Paul Vandervoort) – 5:09\n \"People\" (Jule Styne, Bob Merrill) – 5:18\n \"Thinking of You\" (Harry Ruby, Bert Kalmar) – 4:53\n \"I Didn't Know What Time It Was\" (Richard Rodgers, Lorenz Hart) – 6:54\n \"Brazilian Emerald\" (Peter Hand) – 3:30\n \"Why Did I Choose You?\" (Michael Leonard, Herbert Martin) – 5:39\n \"Black Coffee\" (Sonny Burke, Paul Francis Webster) – 6:33\n \"Sing\" (Joe Raposo) – 5:25\n \"Avant de Mourir (My Prayer)\" ( Georges Boulanger, Carlos Gomez Barrera Jimmy Kennedy) – 4:37\n \"When October Goes\" (Barry Manilow, Johnny Mercer) – 2:33\n \"Medley: That Sunday, That Summer/Funny\" (Joe Sherman, George David Weiss/Hughie Prince, Marcia Neil, Philip Broughton, Merrill) – 4:32\n\nPersonnel \nHouston Person – tenor saxophone\nEddie Allen – trumpet (tracks 1, 2, 5 & 8)\nJohn Di Martino – piano (tracks 1-10)\nJames Chirillo – guitar (tracks 1-9 & 11)\nRay Drummond – bass (tracks 1-9)\nWillie Jones III – drums (tracks 1-9)\n\nReferences \n\nHouston Person albums\n2007 albums\nHighNote Records albums\nAlbums recorded at Van Gelder Studio" ]
[ "Chuck Schuldiner", "Biography", "When was Chuck born?", "May 13, 1967,", "where was he born?", "Long Island, New York", "is there any mention of his parents?", "Jewish father of Austrian descent and a mother from the American South, a convert to Judaism.", "Did he have any siblings?", "Schuldiner was the youngest of three children:", "When did he start playing music?", "He started playing guitar at the age of 9;", "Why did he choose guitar?", "his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief." ]	C_a88c4d67cad347c48cbcf2688f70c807_1	Did he go to music school?	7	Did Chuck Schuldiner go to music school?	Chuck Schuldiner	Schuldiner was born on May 13, 1967, on Long Island, New York to a Jewish father of Austrian descent and a mother from the American South, a convert to Judaism. Both of his parents were teachers. In 1968, his family moved to Florida. Schuldiner was the youngest of three children: he had an older brother named Frank and an older sister named Bethann. He started playing guitar at the age of 9; his 16-year-old brother had died and his parents bought him a guitar, thinking it would help with his grief. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely, until his parents saw an electric guitar at a yard sale and bought it for him. The young Schuldiner immediately took to the instrument. After getting amps, he never stopped playing, writing and teaching himself. Schuldiner was known to spend the weekend in the garage or his room playing his guitar, but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Metallica, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM - New Wave of British Heavy Metal - and cited bands of that genre among his favorites. He frequently cited French band Sortilege as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own band. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensryche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education, and eventually dropped out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. CANNOTANSWER	After getting amps, he never stopped playing, writing and teaching himself.	Charles Michael Schuldiner (May 13, 1967 – December 13, 2001) was an American singer, songwriter, and guitarist. He founded the band Death in 1983 and was their lead vocalist and guitarist until his death in 2001. His obituary in the January 5, 2002, issue of UK's Kerrang! magazine described him as "one of the most significant figures in the history of metal." Schuldiner was ranked No. 10 in Joel McIver's book The 100 Greatest Metal Guitarists in 2009 and No. 20 in March 2004 Guitar Worlds "The 100 Greatest Metal Guitarists". In 1987, Schuldiner founded the publishing company Mutilation Music, affiliated with performance rights organization BMI. Schuldiner died in 2001 of a brain tumor. Schuldiner is often referred to as "The Godfather of death metal", although he was uncomfortable with this nickname, remarking that "I don't think I should take the credits for this death metal stuff. I'm just a guy from a band, and I think Death is a metal band." Biography Early life Schuldiner was born on May 13, 1967, on Long Island, New York. His father Mal Schuldiner was Jewish and the son of Austrian immigrants, and his mother Jane Schuldiner was from the American South and had converted to Judaism. In 1968, his family moved to Florida. He started playing guitar at the age of 9. He took classical lessons for less than a year in which his teacher taught him "Mary had a Little Lamb", which he did not like very much, and almost stopped completely until his parents bought him an electric guitar at a yard sale. The young Schuldiner immediately took to the instrument and began playing, writing and teaching himself. He was known to spend the weekend in the garage or his room playing his guitar but was limited to three hours on weekdays when school was in session. Schuldiner first played in public in his early teens. Schuldiner was originally inspired by Black Sabbath, Judas Priest, Iron Maiden, Kiss and classical jazz, among others. He was particularly interested in the metal movement known as NWOBHM – New Wave of British Heavy Metal – and cited bands of that genre among his favorites. He frequently cited French band Sortilège as his personal favorite metal group. Slayer, Celtic Frost, Possessed, Mercyful Fate/King Diamond and Metallica were later influences he would apply more to his own songwriting. Later in his career, Schuldiner frequently cited progressive metal bands such as Watchtower, Coroner and Queensrÿche as influences. The official Schuldiner website, Empty Words, quotes Schuldiner's mother making the claim that he enjoyed all forms of music except country and rap. He also enjoyed jazz and classical music in addition to metal and British alternative acts such as Lush. Schuldiner performed well in school before becoming bored with education and eventually dropping out. He later regretted this decision. He has stated that if he had not become a musician, he would have liked to have become a veterinarian or a cook. Musical career Taking inspiration from Nasty Savage, Schuldiner formed Death as Mantas in 1983 when he was just 16 years old. Original members were Schuldiner (guitar), Rick Rozz (guitar) and Kam Lee (drums and vocals). In January 1986, Schuldiner moved to Toronto and temporarily joined the Canadian band Slaughter. However, he quickly returned to continue the formation of Death. Death underwent many lineup changes. With Chris Reifert, Schuldiner eventually released the first Death album, titled Scream Bloody Gore, in 1987. He continued with 1988's Leprosy with the line-up of former Mantas guitarist Rick Rozz and rhythm section Terry Butler on bass and Bill Andrews on drums, and 1990's Spiritual Healing, where guitarist James Murphy had replaced the fired Rozz in 1989. After Spiritual Healing, Schuldiner stopped working with full-time band members, preferring to work with studio and live venue musicians, due to bad relationships with Death's previous rhythm section and guitarists. This earned Schuldiner something of a 'perfectionist' reputation in the metal community. Schuldiner had also fired his manager Eric Greif but settled and re-hired him before the recording of his next, influential release. Death's breakthrough album, Human saw the band evolving to a more technical and progressive style, in which Schuldiner displayed his guitar skills more than ever. He continued in this style (and continued the success of the band) with 1993's Individual Thought Patterns, 1995's Symbolic, and finally The Sound of Perseverance in 1998. He put Death on hold after this to continue Control Denied, which he had been putting together prior to the release of The Sound of Perseverance, and released The Fragile Art of Existence in 1999. Control Denied also had other players from the latest Death album but featured a melodic metal vocalist. Schuldiner also played guitar in the "supergroup" Voodoocult on the album Jesus Killing Machine in 1994 and played a guest solo on Naphobia's 1995 release, Of Hell on the track "As Ancients Evolve" as a favor to the band's bassist at the time who was a friend of Schuldiner's. Schuldiner was also asked to be one of the many guest vocalists on Dave Grohl's 2001 Probot. Grohl, Napalm Death, Ozzy Osbourne, and Anthrax all increased efforts to raise funds for Schuldiner's medical bills with Grohl trying to involve Schuldiner on an album he was working on. In a 1999 interview, Schuldiner spoke about why he didn't sing on the Control Denied album The Fragile Art of Existence "...these vocals are all I ever wanted to do in Death but couldn't. I've had this dream of recording like that for years, and it seems like a dream come true. Tim Aymar is an amazing singer and this is the main difference. I think people will be surprised at the violence and strength of the album. Many people are expecting something like Iron Maiden, but, despite being one of my favorite bands, I didn't want to make an Iron Maiden-like album. I wanted to make an unpredictable album, just like I did in Death, I guess. I don't like to make predictable albums." Illness and death In 1999, Schuldiner was diagnosed with brain cancer. He continued to work on his music, continuing his work with Control Denied. He was at first unable to afford the surgery that he needed immediately. A press release called for support from everyone, including fellow artists. Jane Schuldiner urged all who read the statements about Schuldiner and his illness to go out and get insurance, stating her frustration in the American healthcare system. Schuldiner had taken out medical insurance after his first surgery, but the insurer had refused to pay because the cancer pre-dated insurance being taken out. Many artists, including Kid Rock, Korn and Red Hot Chili Peppers, got together during the summer of 2001 to auction off personal items, with the funds assisting Schuldiner's medical expenses, an effort covered by MTV. Matt Heafy, vocalist and guitarist for Trivium, has also stated that the band had played a benefit show for Schuldiner while he was in the hospital in their days as a local band. In November 2001, Schuldiner's condition worsened as he became ill with Pneumocystis carinii. On December 13, 2001, Schuldiner died at the age of 34 and was cremated. MTV reported that recording artists including Dave Grohl, Mike Patton, Max Cavalera, King Diamond, Ville Valo, Trey Azagthoth, Glen Benton, Jason Newsted, Corey Taylor, and all former and active members of Death, attended his memorial service. Legacy With the assistance of Schuldiner's family, former manager Eric Greif handled his legacy as President of Perseverance Holdings Ltd. Schuldiner's mother Jane and sister Beth Schuldiner frequently interact with his fans and both have stated many times that they enjoy his music. Greif kept track of his recordings and handled Schuldiner's intellectual property. Beth Schuldiner has a son named Christopher Steele, who also plays guitar and has all of Schuldiner's guitars. BC Rich also released a statement in their 2008 catalog stating that Schuldiner's signature model Stealth will be available for purchase, and that endorsement is overseen by Steele. Schuldiner had homes and two dogs in the area surrounding Orlando. Schuldiner built a studio inside the garage where many of his songs such as "Crystal Mountain" were inspired. Schuldiner's home office was the site of the Metal Crusade newsletter and fan club. A legal battle began from the time of Schuldiner's death on the settlement of the rights to the partially completed second Control Denied album, When Man and Machine Collide, which was recorded in 2000–2001 and was scheduled for release in 2013. Demos of these unreleased Control Denied songs, as well as early Death demos and live Death recordings from 1990, were released in the Zero Tolerance two-part compilation bootlegs by the Dutch Hammerheart Holdings company and the Schuldiners and Greif asserted rights on behalf of Schuldiner's Estate. The matter was settled in November 2009, anticipating the project being finished and released in 2010. Tribute concerts have been coordinated or funded by Schuldiner's mother and family and various Death tribute groups internationally. Former CKY frontman, Deron Miller, who considers Schuldiner an idol of his, got the idea, while working on various projects with former Death guitarist (and pituitary tumor survivor) James Murphy, to do a tribute album. Murphy announced he would release a Chuck Schuldiner tribute album to commemorate his lasting mark on the metal community and Schuldiner's family publicly offered support for Murphy's effort, though it has never materialized. Schuldiner's sister Beth confirmed via her YouTube channel that Death: Live in Japan, a behind the scenes Death video, as well as a potential boxset containing all of Schuldiner's works including some exclusive copies of handwritten notes by Schuldiner are in the works via Relapse Records. Schuldiner Estate lawyer Eric Greif held a charity Chuck Schuldiner Birthday Bash in Calgary, Alberta, May 13, 2011, featuring speeches by Greif and former Death guitarist Paul Masvidal, as well as bands performing Schuldiner's music. Greif repeated this May 12, 2012, with special guest band Massacre, featuring former Death members Rick Rozz and Terry Butler. Book In January 2001, Mahyar Dean, an Iranian metal guitarist/musician, wrote Death, a book about Death and Schuldiner poems. The book includes bilingual lyrics and many articles about the band. The book was sent through the site keepers of emptywords.org to Schuldiner, who in his words was "truly blown away and honored by the obvious work and devotion he put into bringing the book to life". Beliefs Schuldiner designed the Death logo and its various incarnations during the length of his career. In 1991, before the release of Human, he cleaned up the logo taking out more intricate details and the "T" in the logo was swapped from an inverted cross to a more regular looking "T", one reason being to quash any implication of religion. Schuldiner was also openly against hard drugs; he is quoted as saying, "I've tripped several times. That's all because I don't like the hard drugs. And my only drugs are alcohol and grass." Schuldiner also stated that he was pro-choice. He is quoted as saying that "it should be legal. If I was a woman surely I would like to have a choice to have a child or not. In U.S. a lot of new-borns are killed because they were unwanted. It is better to solve it immediately when a woman finds out about the pregnancy and she doesn't want a child. Better to go for an abortion than to kill a baby. That is terrible. Men cannot force women to keep a child when they themselves feel they can't." Musical style Schuldiner was mostly self-taught as a guitarist. In 1993, he expressed a disinterest in music theory: "I know enough about what I'm playing to memorize the scales and things, but I have no idea how you would label them. As long as I can play it, memorize it and apply it, I don't need to know what you call it." In the early days of Death, Schuldiner used a "deep, raspy" death growl vocal technique. He said in 1993 that "it takes a lot of energy and a lot of throat abuse to get through a show." Equipment Guitars Schuldiner's primary guitar throughout most of his career was the B.C. Rich Stealth model, an extremely rare model produced in small amounts under the B.C. Rich US (U-) series name along with the Custom Shop, until it was released to the public as the Chuck Schuldiner Tribute Stealth. The Stealth was also released as an N.J. model in the 1980's and 1990's, but was extremely rare. Prior to this, he used a B.C. Rich Mockingbird copy, built by "someone in Florida", and a B.C Rich Ignitor. Most of Schuldiner's sound came from a DiMarzio X2N pickup placed in the bridge. During the (In)Human Tour of the World (1991–92), Schuldiner briefly endorsed a small Wisconsin custom guitar company called Axtra, who worked with him on designs, though he still insisted on using his B.C. Rich during filming of the Lack of Comprehension video in September 1991 in Orlando. Amplifiers The amplifier he used towards the end of his career was a Marshall Valvestate (Model 8100) amplifier head and Valvestate 4x12 speaker cabinets on Individual Thought Patterns as well as the ITP tour and eventually started using Marshall 1960 cabinets. Before that he used various equipment including Randall RG100ES heads and Randall cabinets, and on the (In)Human Tour of the World he used a small GK 250ML miked up, despite having hollow 4x12 stacks 'for show'. On the first two Death albums, he stated he used a Boss distortion pedal, but didn't specify which, after which he used amplifier distortion. Discography Death 1987: Scream Bloody Gore 1988: Leprosy 1990: Spiritual Healing 1991: Human 1993: Individual Thought Patterns 1995: Symbolic 1998: The Sound of Perseverance Voodoocult 1994: Jesus Killing Machine Control Denied 1999: The Fragile Art of Existence See also Honorific nicknames in popular music References Sources The Metal Crusade, official site of The Death Fan Club Empty Words, official Death/Control Denied archival site 1967 births 2001 deaths Deaths from pneumonia in Florida American heavy metal guitarists American heavy metal singers American people of Austrian-Jewish descent Rhythm guitarists Lead guitarists Death (metal band) members Death metal musicians Deaths from brain tumor Deaths from cancer in Florida Neurological disease deaths in Florida Jewish American musicians Jewish singers Jewish American songwriters Singers from Florida Singers from New York (state) People from Glen Cove, New York Singers from Orlando, Florida People from Altamonte Springs, Florida Progressive metal guitarists Songwriters from Florida Songwriters from New York (state) 20th-century American singers Jewish heavy metal musicians 20th-century American guitarists Guitarists from Florida Guitarists from New York (state) American male guitarists Control Denied members Voodoocult members 20th-century American male singers 20th-century American Jews American male songwriters	false	[ "\"What I Go to School For\" is the debut single of English pop punk band Busted. It was written by James Bourne, Charlie Simpson, Matt Willis, Steve Robson, and John McLaughlin and produced by Steve Robson. The song was inspired by a teacher that Matt Willis had a crush on at school.\n\nThe song was released on 16 September 2002 and reached number three on the UK Singles Chart. A young Jade Ewen (who would later join girl group Sugababes) appears in the music video.\n\nBackground\nMatt Willis told the Essex Chronicle that the song came about after a night out in TOTs 2000 (now known as Talk nightclub) in James Bourne's hometown of Southend-on-Sea. \"We were too young, we got drunk and went to TOTs,\" Willis said. \"Then we walked home and continued drinking on the way – it took us ages. When we got back to James' house, we went to his bedroom and just picked up the guitar and that’s when we started writing What I Go to School For.\"\n\nIn 2003, the real-life inspiration for the song was revealed to be Willis' former teacher Michelle Blair, who made a surprise appearance on The Frank Skinner Show on ITV during an interview with Willis. Blair, who was 28 and had been married for three years at the time of her appearance on The Frank Skinner Show, was Willis' dance teacher at the Sylvia Young Theatre School when Willis was 15. Speaking about the surprise appearance with Willis on the show, Blair said: \"It was hilarious – he looked like he wanted the ground to swallow him up. I only found out the song was about me after it came out – it's really flattering.\" Blair said that at the time she was not aware of her pupil's crush on her, but that she did remember him from the dance classes: \"He was quite cheeky and charming and always had something to say in class. He used to tell us he was in a band, but I never dreamed they were going to be this big and I certainly hadn't a clue I was going to feature in one of their songs!\"\n\nCommenting on the veracity of these events as portrayed in the song, Blair said: \"I think he's used a bit of artistic licence in the song. It was a dance class so we never used any pencils but I suppose he had ample opportunity to look at my bum. There was never any tree outside my bedroom window though – I think I might have noticed a Peeping Tom.\" Reflecting on his time under the tutelage of Miss Blair, Willis said, \"She was kind of nice and there was always something really sexy about her.\" Being identified as the object of adolescent lust, and the subject of a pop song, hasn't caused any friction with her husband, according to Blair: \"My husband thinks its (sic) hilarious and takes the mickey. I don't think he's really worried I'm going to run off with a pop star. I'm proud of them. Looking back it was obvious Matt had what it takes.\"\n\nOn 29 October 2012, Michelle Blair appeared as the correct answer in the \"line-up\" section of BBC Two panel Never Mind the Buzzcocks.\n\nMusical\nWhat I Go to School For became the title of a musical theatre production produced by Youth Music Theatre UK following the story of Busted from their origins in Southend-on-Sea, Essex, through to their break-up in 2005. The musical was written by Elliot Davis with songs from the Busted albums and new music by James Bourne. It was directed by Steven Dexter and played at the Theatre Royal, Brighton in 2016.\n\nMusic video\nThe video for the song features model Lorna Roberts as Miss McKenzie, the object of the band's desire. Then 14-year-old Jade Ewen, who later joined the Sugababes, appears in the video as a schoolgirl. The filming of the What I Go To School For video was later parodied in the video for the Busted song Nineties.\n\nTrack listings\n\nUK CD1 and Australian CD single\n \"What I Go to School For\" (single version) – 3:30\n \"What I Go to School For\" (acoustic version) – 3:26\n \"What I Go to School For\" (alternative version) – 3:31\n \"What I Go to School For\" (instrumental mix) – 3:28\n \"What I Go to School For\" (CD-ROM video)\n\nUK CD2\n \"What I Go to School For\" (single version)\n \"Brown Eyed Girl\"\n Interactvie interview (CD-ROM video)\n\nUK cassette single\n \"What I Go to School For\"\n \"Dawson's Geek\"\n \"What I Go to School For\" (acoustic version)\n\nUS enhanced CD single\n \"What I Go to School For\" (radio version)\n \"What I Go to School For\" (album version)\n \"What I Go to School For\" (CD-ROM video)\n\nCharts and certifications\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nCover versions\n \"What I Go to School For\" was parodied by the Amateur Transplants on their 2004 album Fitness to Practice.\n The Jonas Brothers covered the song for their 2006 album It's About Time.\n\nReferences\n\n2002 debut singles\n2002 songs\nBusted (band) songs\nIsland Records singles\nSongs about school\nSongs written by Charlie Simpson\nSongs written by James Bourne\nSongs written by Matt Willis\nSongs written by Steve Robson\nUniversal Records singles", "Diego Tinotenda Chikombeka (born ), professionally known as Diego Tryno is a Zimbabwean urban contemporary and hip-hop musician. He is also known locally by stage names including \"Mr. Coffee Please\" and \"The Future Billionaire\".\n\nEarly life \nDiego was born in Mutare, Zimbabwe at the Sakubva District Hospital. He was the first child born to his mother Fungisai Kanjera and his father Christopher Chikombeka. While attending primary school, he moved to Zvishavane temporarily and moved back to Mutare to finish his primary education. He attended Chikanga High School before moving to Harare, and finished high school at Living Waters High School. During his schooling, Tryno practiced music privately, as his parents were not tolerant of his decision to pursue music.\n\nMusic career \nHe once did Zimdancehallmusic under the name Ricky D before switching to hip-hop. Tryno recorded his first hip-hop track in 2014 called \"Go Diego Go\" and won his first regional award at Zambezi Music Awards the same year. In 2015 he did his first live show at Summer Jam followed by \"I wanna see you\" dance tour. He does music in English, Shona, and Ndebele and his first Shona track was in 2015 when he featured in a song with singer TC. Tryno has worked with regional and international producers in the production of his music. One notable producer was Dry AFM from Botswana who contributed in the mixing of his song Yolo.\n\n2018 \nIn October 2018, Tryno released his debut album Lazarus (Age Volume 1) which was the first contribution of his All Generations Entwined project. The album was released in collaboration with Zimbabwean Hip-hop artist Ti Gonzi's album \"Best Mero\" on the same day and venue and the debut was mistakenly believed to be a Gospel Album. Tryno's debut album was considerably circulated on radio stations including Star Fm, ZiFm, Hevoi Fm in Masvingo and SA's Metro Fm. After his first album, Tryno attempted to mix urban contemporary, sungura, gospel, and Zimbabwean traditional music. October 30, 2018, Diego released his debut video \"Mabvuta\" live on ZiFm Stereo and Zimbabwe's ZBC TV.\n\n2019 \nIn 2019 Tryno released his single Cooler Box which made its way to Zimbabwean radio charts and he promised to release his sophomore album Stories (Age Vol 2) which he failed to release on the promised date and it attracted negative feedback from his fans. December 2019 he dismissed rumors about a tour in Kenya and cancelled any other rumored tours.\n\nNationality and identity \nTryno was forbade to do music by his family and because of the ban he did music privately and he did not identify as Zimbabwean. He engaged with radio station managers in other countries for airplay and marketing. In South Africa they marketed him as South African on radios and online mediums and in Zambia they marketed him as Zambian. He came out publicly as Zimbabwean in 2018.\n\nDiscography\n\nAlbums \n Lazarus (Age Volume 1) (2018)\n\nSingles \n Lazarus\n Mabvuta\n Sungai\n Hell Naw\n Yolo\n Mama\n\nVideography\n\nAwards and Nominations\n\nReferences\n\nExternal links \n Video\n Bio\n Interview on Star FM\n Interview on Hevoi FM\n\nZimbabwean musicians\nZimbabwean hip hop musicians\n1998 births\nLiving people" ]
[ "Virginia Woolf", "Talland House (1882-1894)" ]	C_8596d9535fe94e95907f37d55beb6a03_1	what is talland house?	1	what is talland house?	Virginia Woolf	Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER	a large white house in St. Ives, Cornwall,	Adeline Virginia Woolf (; ; 25 January 1882 28 March 1941) was an English writer, considered one of the most important modernist 20th-century authors and a pioneer in the use of stream of consciousness as a narrative device. Woolf was born into an affluent household in South Kensington, London, the seventh child of Julia Prinsep Jackson and Leslie Stephen in a blended family of eight which included the modernist painter Vanessa Bell. She was home-schooled in English classics and Victorian literature from a young age. From 1897 to 1901, she attended the Ladies' Department of King's College London, where she studied classics and history and came into contact with early reformers of women's higher education and the women's rights movement. Encouraged by her father, Woolf began writing professionally in 1900. After her father's death in 1904, the Stephen family moved from Kensington to the more bohemian Bloomsbury, where, in conjunction with the brothers' intellectual friends, they formed the artistic and literary Bloomsbury Group. In 1912, she married Leonard Woolf, and in 1917, the couple founded the Hogarth Press, which published much of her work. They rented a home in Sussex and moved there permanently in 1940. Woolf had romantic relationships with women, including Vita Sackville-West, who also published her books through Hogarth Press. Both women's literature became inspired by their relationship, which lasted until Woolf's death. During the inter-war period, Woolf was an important part of London's literary and artistic society. In 1915, she had published her first novel, The Voyage Out, through her half-brother's publishing house, Gerald Duckworth and Company. Her best-known works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928). She is also known for her essays, including A Room of One's Own (1929). Woolf became one of the central subjects of the 1970s movement of feminist criticism and her works have since attracted much attention and widespread commentary for "inspiring feminism". Her works have been translated into more than 50 languages. A large body of literature is dedicated to her life and work, and she has been the subject of plays, novels and films. Woolf is commemorated today by statues, societies dedicated to her work and a building at the University of London. Throughout her life, Woolf was troubled by mental illness. She was institutionalised several times and attempted suicide at least twice. According to Dalsimer (2004) her illness was characterized by symptoms that today would be diagnosed as bipolar disorder, for which there was no effective intervention during her lifetime. In 1941, at age 59, Woolf died by drowning herself in the River Ouse at Lewes. Life Family of origin Virginia Woolf was born Adeline Virginia Stephen on 25 January 1882 at 22 Hyde Park Gate in South Kensington, London, to Julia (née Jackson) (1846–1895) and Leslie Stephen (1832–1904), writer, historian, essayist, biographer and mountaineer. Julia Jackson was born in 1846 in Calcutta, British India, to John Jackson and Maria "Mia" Theodosia Pattle, from two Anglo-Indian families. John Jackson FRCS was the third son of George Jackson and Mary Howard of Bengal, a physician who spent 25 years with the Bengal Medical Service and East India Company and a professor at the fledgling Calcutta Medical College. While John Jackson was an almost invisible presence, the Pattle family were famous beauties, and moved in the upper circles of Bengali society. The seven Pattle sisters married into important families. Julia Margaret Cameron was a celebrated photographer, while Virginia married Earl Somers, and their daughter, Julia Jackson's cousin, was Lady Henry Somerset, the temperance leader. Julia moved to England with her mother at the age of two and spent much of her early life with another of her mother's sisters, Sarah Monckton Pattle. Sarah and her husband Henry Thoby Prinsep, conducted an artistic and literary salon at Little Holland House where she came into contact with a number of Pre-Raphaelite painters such as Edward Burne-Jones, for whom she modelled. Julia was the youngest of three sisters, and Adeline Virginia was named after her mother's eldest sister Adeline Maria Jackson (1837–1881) and her mother's aunt Virginia Pattle (see Pattle family tree). Because of the tragedy of her aunt Adeline's death the previous year, the family never used Virginia's first name. The Jacksons were a well educated, literary and artistic proconsular middle-class family. In 1867, Julia Jackson married Herbert Duckworth, a barrister, but within three years was left a widow with three infant children. She was devastated and entered a prolonged period of mourning, abandoning her faith and turning to nursing and philanthropy. Julia and Herbert Duckworth had three children: George (5 March 1868 – 27 April 1934), a senior civil servant, married Lady Margaret Herbert in 1904 Stella (30 May 1869 – 19 July 1897), died aged 28 Gerald (29 October 1870 – 28 September 1937), founder of Duckworth Publishing, married Cecil Alice Scott-Chad in 1921 Leslie Stephen was born in 1832 in South Kensington to Sir James and Lady Jane Catherine Stephen (née Venn), daughter of John Venn, rector of Clapham. The Venns were the centre of the evangelical Clapham Sect. Sir James Stephen was the under secretary at the Colonial Office, and with another Clapham member, William Wilberforce, was responsible for the passage of the Slavery Abolition Bill in 1833. In 1849 he was appointed Regius Professor of Modern History at Cambridge University. As a family of educators, lawyers, and writers the Stephens represented the elite intellectual aristocracy. While his family were distinguished and intellectual, they were less colourful and aristocratic than Julia Jackson's. A graduate and fellow of Cambridge University he renounced his faith and position to move to London where he became a notable man of letters. In addition, he was a rambler and mountaineer, described as a "gaunt figure with the ragged red brown beard...a formidable man, with an immensely high forehead, steely-blue eyes, and a long pointed nose." In the same year as Julia Jackson's marriage, he wed Harriet Marian (Minny) Thackeray (1840–1875), youngest daughter of William Makepeace Thackeray, who bore him a daughter, Laura (1870–1945), but died in childbirth in 1875. Laura was developmentally disabled and eventually institutionalised. The widowed Julia Duckworth knew Leslie Stephen through her friendship with Minny's elder sister Anne (Anny) Isabella Ritchie and had developed an interest in his agnostic writings. She was present the night Minny died and later, tended to Leslie Stephen and helped him move next door to her on Hyde Park Gate so Laura could have some companionship with her own children. Both were preoccupied with mourning and although they developed a close friendship and intense correspondence, agreed it would go no further. Leslie Stephen proposed to her in 1877, an offer she declined, but when Anny married later that year she accepted him and they were married on 26 March 1878. He and Laura then moved next door into Julia's house, where they lived till his death in 1904. Julia was 32 and Leslie was 46. Their first child, Vanessa, was born on 30 May 1879. Julia, having presented her husband with a child and now having five children to care for, decided to limit her family's growth. However, despite the fact that the couple took "precautions", "contraception was a very imperfect art in the nineteenth century": it resulted in the birth of three more children over the next four years. 22 Hyde Park Gate (1882–1904) 1882–1895 Virginia Woolf provides insight into her early life in her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921), and A Sketch of the Past (1940). Other essays that provide insight into this period include Leslie Stephen (1932). She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure of her mother becomes more nuanced and filled in. In February 1891, with her sister Vanessa, Woolf began the Hyde Park Gate News, chronicling life and events within the Stephen family, and modelled on the popular magazine Tit-Bits. Initially, this was mainly Vanessa's and Thoby's articles, but very soon Virginia became the main contributor, with Vanessa as editor. Their mother's response when it first appeared was "Rather clever I think". Virginia would run the Hyde Park Gate News until 1895, the time of her mother's death. The following year the Stephen sisters also used photography to supplement their insights, as did Stella Duckworth. Vanessa Bell's 1892 portrait of her sister and parents in the Library at Talland House (see image) was one of the family's favourites and was written about lovingly in Leslie Stephen's memoir. In 1897 ("the first really lived year of my life)" Virginia began her first diary, which she kept for the next twelve years, and a notebook in 1909. Virginia was, as she describes it, "born into a large connection, born not of rich parents, but of well-to-do parents, born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world." It was a well-connected family consisting of six children, with two half brothers and a half sister (the Duckworths, from her mother's first marriage), another half sister, Laura (from her father's first marriage), and an older sister, Vanessa, and brother Thoby. The following year, another brother Adrian followed. The disabled Laura Stephen lived with the family until she was institutionalised in 1891. Julia and Leslie had four children together: Vanessa "Nessa" (30 May 1879 – 1961), married Clive Bell in 1907 Thoby (9 September 1880 – 1906), founded Bloomsbury Group Virginia "Jinny"/"Ginia" (25 January 1882 – 1941), married Leonard Woolf in 1912 Adrian (27 October 1883 – 1948), married Karin Costelloe in 1914 Virginia was born at 22 Hyde Park Gate and lived there until her father's death in 1904. Number 22 Hyde Park Gate, South Kensington, lay at the south-east end of Hyde Park Gate, a narrow cul-de-sac running south from Kensington Road, just west of the Royal Albert Hall, and opposite Kensington Gardens and Hyde Park, where the family regularly took their walks (see Map; Street plan). Built in 1846 by Henry Payne of Hammersmith as one of a row of single-family townhouses for the upper middle class, it soon became too small for their expanding family. At the time of their marriage, it consisted of a basement, two storeys, and an attic. In July 1886 Leslie Stephen obtained the services of J. W. Penfold, an architect, to add additional living space above and behind the existing structure. The substantial renovations added a new top floor (see image of red brick extension), with three bedrooms and a study for himself, converted the original attic into rooms, and added the first bathroom. It was a tall but narrow townhouse, that at that time had no running water. Virginia would later describe it as "a very tall house on the left-hand side near the bottom which begins by being stucco and ends by being red brick; which is so high and yet—as I can say now that we have sold it—so rickety that it seems as if a very high wind would topple it over." The servants worked "downstairs" in the basement. The ground floor had a drawing room, separated by a curtain from the servant's pantry and a library. Above this on the first floor were Julia and Leslie's bedrooms. On the next floor were the Duckworth children's rooms, and above them, the day and night nurseries of the Stephen children occupied two further floors. Finally, in the attic, under the eaves, were the servants' bedrooms, accessed by a back staircase. Life at 22 Hyde Park Gate was also divided symbolically; as Virginia put it, "The division in our lives was curious. Downstairs there was pure convention: upstairs pure intellect. But there was no connection between them", the worlds typified by George Duckworth and Leslie Stephen. Their mother, it seems, was the only one who could span this divide. The house was described as dimly lit and crowded with furniture and paintings. Within it, the younger Stephens formed a close-knit group. Despite this, the children still held their grievances. Virginia envied Adrian for being their mother's favourite. Virginia and Vanessa's status as creatives (writing and art respectively) caused a rivalry between them at times. Life in London differed sharply from their summers in Cornwall, their outdoor activities consisting mainly of walks in nearby Kensington Gardens, where they would play hide-and-seek and sail their boats on the Round Pond, while indoors, it revolved around their lessons. Leslie Stephen's eminence as an editor, critic, and biographer, and his connection to William Thackeray, meant his children were raised in an environment filled with the influences of a Victorian literary society. Henry James, George Henry Lewes, Alfred Lord Tennyson, Thomas Hardy, Edward Burne-Jones, and Virginia's honorary godfather, James Russell Lowell, were among the visitors to the house. Julia Stephen was equally well connected. Her aunt was a pioneering early photographer, Julia Margaret Cameron, who was also a visitor to the Stephen household. The two Stephen sisters, Vanessa and Virginia, were almost three years apart in age. Virginia christened her older sister "the saint" and was far more inclined to exhibit her cleverness than her more reserved sister. Virginia resented the domesticity Victorian tradition forced on them far more than her sister. They also competed for Thoby's affections. Virginia would later confess her ambivalence over this rivalry to Duncan Grant in 1917: "indeed one of the concealed worms of my life has been a sister's jealousy – of a sister I mean; and to feed this I have invented such a myth about her that I scarce know one from t'other." Virginia showed an early affinity for writing. Although both parents disapproved of formal education for females, writing was considered a respectable profession for women, and her father encouraged her in this respect. Later, she would describe this as "ever since I was a little creature, scribbling a story in the manner of Hawthorne on the green plush sofa in the drawing room at St. Ives while the grown-ups dined". By the age of five, she was writing letters and could tell her father a story every night. Later, she, Vanessa, and Adrian would develop the tradition of inventing a serial about their next-door neighbours, every night in the nursery, or in the case of St. Ives, of spirits that resided in the garden. It was her fascination with books that formed the strongest bond between her and her father. For her tenth birthday, she received an ink-stand, a blotter, drawing book and a box of writing implements. Talland House (1882–1894) Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen family leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882–1894) at St Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed, "My Julia was of course, though with all due reserve, a bit of a matchmaker." Amongst their guests in 1893 were the Brookes, whose children, including Rupert Brooke, played with the Stephen children. Rupert and his group of Cambridge Neo-pagans would come to play an important role in their lives in the years before the First World War. While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than at their mother's Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children, it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden … The sound of the sea at night … almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). 1895–1904 Julia Stephen fell ill with influenza in February 1895, and never properly recovered, dying on 5 May, when Virginia was 13. It was a pivotal moment in her life and the beginning of her struggles with mental illness. Essentially, her life had fallen apart. The Duckworths were travelling abroad at the time of their mother's death, and Stella returned immediately to take charge and assume her role. That summer, rather than return to the memories of St Ives, the Stephens went to Freshwater, Isle of Wight, where some of their mother's relatives lived. It was there that Virginia had the first of her many nervous breakdowns, and Vanessa was forced to assume some of her mother's role in caring for Virginia's mental state. Stella became engaged to Jack Hills the following year and they were married on 10 April 1897, making Virginia even more dependent on her older sister. George Duckworth also assumed some of their mother's role, taking upon himself the task of bringing them out into society. First Vanessa, then Virginia, in both cases an equal disaster, for it was not a rite of passage that resonated with either girl and attracted a scathing critique by Virginia regarding the conventional expectations of young upper-class women: "Society in those days was a perfectly competent, perfectly complacent, ruthless machine. A girl had no chance against its fangs. No other desires – say to paint, or to write – could be taken seriously". Rather her priorities were to escape from the Victorian conventionality of the downstairs drawing room to a "room of one's own" to pursue her writing aspirations. She would revisit this criticism in her depiction of Mrs. Ramsay stating the duties of a Victorian mother in To the Lighthouse "an unmarried woman has missed the best of life". The death of Stella Duckworth on 19 July 1897, after a long illness, was a further blow to Virginia's sense of self, and the family dynamics. Woolf described the period following the death of both her mother and Stella as "1897–1904 – the seven unhappy years", referring to "the lash of a random unheeding flail that pointlessly and brutally killed the two people who should, normally and naturally, have made those years, not perhaps happy but normal and natural". In April 1902, their father became ill, and although he underwent surgery later that year he never fully recovered, dying on 22 February 1904. Virginia's father's death precipitated a further breakdown. Later, Virginia would describe this time as one in which she was dealt successive blows as a "broken chrysalis" with wings still creased. Chrysalis occurs many times in Woolf's writing but the "broken chrysalis" was an image that became a metaphor for those exploring the relationship between Woolf and grief. At his death, Leslie Stephen's net worth was £15,715 6s. 6d. (probate 23 March 1904) Education In the late 19th century, education was sharply divided along gender lines, a tradition that Virginia would note and condemn in her writing. Boys were sent to school, and in upper-middle-class families such as the Stephens, it involved private boys schools, often boarding schools, and university. Girls, if they were afforded the luxury of education, received it from their parents, governesses, and tutors. Virginia was educated by her parents who shared the duty. There was a small classroom off the back of the drawing room, with its many windows, which they found perfect for quiet writing and painting. Julia taught the children Latin, French, and history, while Leslie taught them mathematics. They also received piano lessons. Supplementing their lessons was the children's unrestricted access to Leslie Stephen's vast library, exposing them to much of the literary canon, resulting in a greater depth of reading than any of their Cambridge contemporaries, Virginia's reading being described as "greedy". Later, she would recall After public school, the boys in the family all attended Cambridge University. The girls derived some indirect benefit from this, as the boys introduced them to their friends. Another source was the conversation of their father's friends, to whom they were exposed. Leslie Stephen described his circle as "most of the literary people of mark...clever young writers and barristers, chiefly of the radical persuasion...we used to meet on Wednesday and Sunday evenings, to smoke and drink and discuss the universe and the reform movement". Later, between the ages of 15 and 19, Virginia was able to pursue higher education. She took courses of study, some at degree level, in beginning and advanced Ancient Greek, intermediate Latin and German, together with continental and English history at the Ladies' Department of King's College London at nearby 13 Kensington Square between 1897 and 1901. She studied Greek under the eminent scholar George Charles Winter Warr, professor of Classical Literature at King's. In addition she had private tutoring in German, Greek, and Latin. One of her Greek tutors was Clara Pater (1899–1900), who taught at King's. Another was Janet Case, who involved her in the women's rights movement, and whose obituary Virginia would later write in 1937. Her experiences led to her 1925 essay "On Not Knowing Greek". Her time at King's also brought her into contact with some of the early reformers of women's higher education such as the principal of the Ladies' Department, Lilian Faithfull (one of the so-called steamboat ladies), in addition to Pater. Her sister Vanessa also enrolled at the Ladies' Department (1899–1901). Although the Stephen girls could not attend Cambridge, they were to be profoundly influenced by their brothers' experiences there. When Thoby went to Trinity in 1899, he befriended a circle of young men, including Clive Bell, Lytton Strachey, Leonard Woolf (whom Virginia would later marry), and Saxon Sydney-Turner, whom he would soon introduce to his sisters at the Trinity May Ball in 1900. These men formed a reading group they named the Midnight Society. Relationships with family Although Virginia expressed the opinion her father was her favourite parent, and although she had only turned thirteen when her mother died, she was profoundly influenced by her mother throughout her life. It was Virginia who famously stated that "for we think back through our mothers if we are women", and invoked the image of her mother repeatedly throughout her life in her diaries, her letters and a number of her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921) and A Sketch of the Past (1940), frequently evoking her memories with the words "I see her ...". She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), the artist, Lily Briscoe, attempts to paint Mrs. Ramsay, a complex character based on Julia Stephen, and repeatedly comments on the fact that she was "astonishingly beautiful". Her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure becomes more nuanced and complete. While her father painted Julia Stephen's work in terms of reverence, Woolf drew a sharp distinction between her mother's work and "the mischievous philanthropy which other women practise so complacently and often with such disastrous results." She describes her degree of sympathy, engagement, judgement, and decisiveness, and her sense of both irony and the absurd. She recalls trying to recapture "the clear round voice, or the sight of the beautiful figure, so upright and distinct, in its long shabby cloak, with the head held at a certain angle, so that the eye looked straight out at you." Julia Stephen dealt with her husband's depressions and his need for attention, which created resentment in her children, boosted his self-confidence, nursed her parents in their final illness, and had many commitments outside the home that would eventually wear her down. Her frequent absences and the demands of her husband instilled a sense of insecurity in her children that had a lasting effect on her daughters. In considering the demands on her mother, Woolf described her father as "fifteen years her elder, difficult, exacting, dependent on her," and reflected that it was at the expense of the amount of attention she could spare her young children: "a general presence rather than a particular person to a child." She reflected that she rarely ever spent a moment alone with her mother: "someone was always interrupting." Woolf was ambivalent about it, yet eager to separate herself from this model of utter selflessness. In To the Lighthouse, she describes it as "boasting of her capacity to surround and protect, there was scarcely a shell of herself left for her to know herself by; all was so lavished and spent." At the same time, she admired the strengths of her mother's womanly ideals. Given Julia's frequent absences and commitments, the young Stephen children became increasingly dependent on Stella Duckworth, who emulated her mother's selflessness; as Woolf wrote, "Stella was always the beautiful attendant handmaid ... making it the central duty of her life." Julia Stephen greatly admired her husband's intellect. As Woolf observed "she never belittled her own works, thinking them, if properly discharged, of equal, though other, importance with her husband's." She believed with certainty in her role as the centre of her activities, and the person who held everything together, with a firm sense of what was important and valuing devotion. Of the two parents, Julia's "nervous energy dominated the family". While Virginia identified most closely with her father, Vanessa stated her mother was her favourite parent. Angelica Garnett recalls how Virginia asked Vanessa which parent she preferred, although Vanessa considered it a question that "one ought not to ask", she was unequivocal in answering "Mother" yet the centrality of her mother to Virginia's world is expressed in this description of her "Certainly there she was, in the very centre of that great Cathedral space which was childhood; there she was from the very first". Virginia observed that her half-sister, Stella, the oldest daughter, led a life of total subservience to her mother, incorporating her ideals of love and service. Virginia quickly learned, that like her father, being ill was the only reliable way of gaining the attention of her mother, who prided herself on her sickroom nursing. Another issue the children had to deal with was Leslie Stephen's temper, Woolf describing him as "the tyrant father". Eventually, she became deeply ambivalent about him. He had given her his ring on her eighteenth birthday and she had a deep emotional attachment as his literary heir, writing about her "great devotion for him". Yet, like Vanessa, she also saw him as victimiser and tyrant. She had a lasting ambivalence towards him through her life, albeit one that evolved. Her adolescent image was of an "Eminent Victorian" and tyrant but as she grew older she began to realise how much of him was in her: "I have been dipping into old letters and father's memoirs....so candid and reasonable and transparent—and had such a fastidious delicate mind, educated, and transparent," she wrote 22 December 1940. She was in turn both fascinated and condemnatory of Leslie Stephen: "She [her mother] has haunted me: but then, so did that old wretch my father. . . . I was more like him than her, I think; and therefore more critical: but he was an adorable man, and somehow, tremendous." Sexual abuse Woolf stated that she first remembers being molested by Gerald Duckworth when she was six years old. It has been suggested that this led to a lifetime of sexual fear and resistance to masculine authority. Against a background of over-committed and distant parents, suggestions that this was a dysfunctional family must be evaluated. These include evidence of sexual abuse of the Stephen girls by their older Duckworth half-brothers, and by their cousin, James Kenneth Stephen (1859–1892), at least of Stella Duckworth. Laura is also thought to have been abused. The most graphic account is by Louise DeSalvo, but other authors and reviewers have been more cautious. Virginia's accounts of being continually sexually abused during the time that she lived at 22 Hyde Park Gate, have been cited by some critics as a possible cause of her mental health issues, although there are likely to be a number of contributing factors. Lee states that, "The evidence is strong enough, and yet ambiguous enough, to open the way for conflicting psychobiographical interpretations that draw quite different shapes of Virginia Woolf's interior life". Bloomsbury (1904–1940) Gordon Square (1904–1907) On their father's death, the Stephens' first instinct was to escape from the dark house of yet more mourning, and this they did immediately, accompanied by George, travelling to Manorbier, on the coast of Pembrokeshire on 27 February. There, they spent a month, and it was there that Virginia first came to realise her destiny was as a writer, as she recalls in her diary of 3 September 1922. They then further pursued their newfound freedom by spending April in Italy and France, where they met up with Clive Bell again. Virginia then suffered her second nervous breakdown, and first suicidal attempt on 10 May, and convalesced over the next three months. Before their father died, the Stephens had discussed the need to leave South Kensington in the West End, with its tragic memories and their parents' relations. George Duckworth was 35, his brother Gerald 33. The Stephen children were now between 24 and 20. Virginia was 22. Vanessa and Adrian decided to sell 22 Hyde Park Gate in respectable South Kensington and move to Bloomsbury. Bohemian Bloomsbury, with its characteristic leafy squares seemed sufficiently far away, geographically and socially, and was a much cheaper neighbourhood rentwise. They had not inherited much and they were unsure about their finances. Also, Bloomsbury was close to the Slade School which Vanessa was then attending. While Gerald was quite happy to move on and find himself a bachelor establishment, George who had always assumed the role of quasi-parent decided to accompany them, much to their dismay. It was then that Lady Margaret Herbert appeared on the scene, George proposed, was accepted and married in September, leaving the Stephens to their own devices. Vanessa found a house at 46 Gordon Square in Bloomsbury, and they moved in November, to be joined by Virginia now sufficiently recovered. It was at Gordon Square that the Stephens began to regularly entertain Thoby's intellectual friends in March 1905. The circle, which largely came from the Cambridge Apostles, included writers (Saxon Sydney-Turner, Lytton Strachey) and critics (Clive Bell, Desmond MacCarthy) with Thursday evening "At Homes" that became known as the Thursday Club, a vision of recreating Trinity College ("Cambridge in London"). This circle formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Later, it would include John Maynard Keynes (1907), Duncan Grant (1908), E.M. Forster (1910), Roger Fry (1910), Leonard Woolf (1911), and David Garnett (1914). In 1905, Virginia and Adrian visited Portugal and Spain. Clive Bell proposed to Vanessa, but was declined, while Virginia began teaching evening classes at Morley College and Vanessa added another event to their calendar with the Friday Club, dedicated to the discussion of and later exhibition of the fine arts. This introduced some new people into their circle, including Vanessa's friends from the Royal Academy and Slade, such as Henry Lamb and Gwen Darwin (who became secretary), but also the eighteen-year-old Katherine Laird ("Ka") Cox (1887–1938), who was about to go up to Newnham. Although Virginia did not actually meet Ka until much later, Ka would come to play an important part in her life. Ka and others brought the Bloomsbury Group into contact with another, slightly younger, group of Cambridge intellectuals to whom the Stephen sisters gave the name "Neo-pagans". The Friday Club continued until 1913. The following year, 1906, Virginia suffered two further losses. Her cherished brother Thoby, who was only 26, died of typhoid, following a trip they had all taken to Greece, and immediately afterward Vanessa accepted Clive's third proposal. Vanessa and Clive were married in February 1907 and as a couple, their interest in avant-garde art would have an important influence on Woolf's further development as an author. With Vanessa's marriage, Virginia and Adrian needed to find a new home. Fitzroy Square (1907–1911) Virginia moved into 29 Fitzroy Square in April 1907, a house on the west side of the street, formerly occupied by George Bernard Shaw. It was in Fitzrovia, immediately to the west of Bloomsbury but still relatively close to her sister at Gordon Square. The two sisters continued to travel together, visiting Paris in March. Adrian was now to play a much larger part in Virginia's life, and they resumed the Thursday Club in October at their new home, while Gordon Square became the venue for the Play Reading Society in December. During this period, the group began to increasingly explore progressive ideas, first in speech, and then in conduct, Vanessa proclaiming in 1910 a libertarian society with sexual freedom for all. Meanwhile, Virginia began work on her first novel, Melymbrosia, that eventually became The Voyage Out (1915). Vanessa's first child, Julian was born in February 1908, and in September Virginia accompanied the Bells to Italy and France. It was during this time that Virginia's rivalry with her sister resurfaced, flirting with Clive, which he reciprocated, and which lasted on and off from 1908 to 1914, by which time her sister's marriage was breaking down. On 17 February 1909, Lytton Strachey proposed to Virginia and she accepted, but he then withdrew the offer. It was while she was at Fitzroy Square that the question arose of Virginia needing a quiet country retreat, and she required a six-week rest cure and sought the countryside away from London as much as possible. In December, she and Adrian stayed at Lewes and started exploring the area of Sussex around the town. She started to want a place of her own, like St Ives, but closer to London. She soon found a property in nearby Firle (see below), maintaining a relationship with that area for the rest of her life. Dreadnought hoax 1910 Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008). Brunswick Square (1911–1912) In October 1911, the lease on Fitzroy Square was running out and Virginia and Adrian decided to give up their home on Fitzroy Square in favour of a different living arrangement, moving to a four-storied house at 38 Brunswick Square in Bloomsbury proper in November. Virginia saw it as a new opportunity: "We are going to try all kinds of experiments," she told Ottoline Morrell. Adrian occupied the second floor, with Maynard Keynes and Duncan Grant sharing the ground floor. This arrangement for a single woman was considered scandalous, and George Duckworth was horrified. The house was adjacent to the Foundling Hospital, much to Virginia's amusement as an unchaperoned single woman. Originally, Ka Cox was supposed to share in the arrangements, but opposition came from Rupert Brooke, who was involved with her and pressured her to abandon the idea. At the house, Duncan Grant decorated Adrian Stephen's rooms (see image). Marriage (1912–1941) Leonard Woolf was one of Thoby Stephen's friends at Trinity College, Cambridge, and noticed the Stephen sisters in Thoby's rooms there on their visits to the May Ball in 1900 and 1901. He recalls them in "white dresses and large hats, with parasols in their hands, their beauty literally took one's breath away". To him, they were silent, "formidable and alarming". Woolf did not meet Virginia formally till 17 November 1904 when he dined with the Stephens at Gordon Square, to say goodbye before leaving to take up a position with the civil service in Ceylon, although she was aware of him through Thoby's stories. At that visit he noted that she was perfectly silent throughout the meal, and looked ill. In 1909, Lytton Strachey suggested to Woolf he should make her an offer of marriage. He did so, but received no answer. In June 1911, he returned to London on a one-year leave, but did not go back to Ceylon. In England again, Leonard renewed his contacts with family and friends. Three weeks after arriving he dined with Vanessa and Clive Bell at Gordon Square on 3 July, where they were later joined by Virginia and other members of what would later be called "Bloomsbury", and Leonard dates the group's formation to that night. In September, Virginia asked Leonard to join her at Little Talland House at Firle in Sussex for a long weekend. After that weekend, they began seeing each other more frequently. On 4 December 1911, Leonard moved into the ménage on Brunswick Square, occupying a bedroom and sitting room on the fourth floor, and started to see Virginia constantly and by the end of the month had decided he was in love with her. On 11 January 1912, he proposed to her; she asked for time to consider, so he asked for an extension of his leave and, on being refused, offered his resignation on 25 April, effective 20 May. He continued to pursue Virginia, and in a letter of 1 May 1912 (which see) she explained why she did not favour a marriage. However, on 29 May, Virginia told Leonard that she wished to marry him, and they were married on 10 August at the St Pancras Register Office. It was during this time that Leonard first became aware of Virginia's precarious mental state. The Woolfs continued to live at Brunswick Square until October 1912, when they moved to a small flat at 13 Clifford's Inn, further to the east (subsequently demolished). Despite his low material status (Woolf referring to Leonard during their engagement as a "penniless Jew"), the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making—after 25 years can't bear to be separate ... you see it is enormous pleasure being wanted: a wife. And our marriage so complete." However, Virginia made a suicide attempt in 1913. In October 1914, Leonard and Virginia Woolf moved away from Bloomsbury and central London to Richmond, living at 17 The Green, a home discussed by Leonard in his autobiography Beginning Again (1964). In early March 1915, the couple moved again, to nearby Hogarth House, Paradise Road, after which they named their publishing house. Virginia's first novel, The Voyage Out was published in 1915, followed by another suicide attempt. Despite the introduction of conscription in 1916, Leonard was exempted on medical grounds. Between 1924 and 1940, the Woolfs returned to Bloomsbury, taking out a ten-year lease at 52 Tavistock Square, from where they ran the Hogarth Press from the basement, where Virginia also had her writing room, and is commemorated with a bust of her in the square (see illustration). 1925 saw the publication of Mrs Dalloway in May followed by her collapse while at Charleston in August. In 1927, her next novel, To the Lighthouse, was published, and the following year she lectured on Women & Fiction at Cambridge University and published Orlando in October. Her two Cambridge lectures then became the basis for her major essay A Room of One's Own in 1929. Virginia wrote only one drama, Freshwater, based on her great-aunt Julia Margaret Cameron, and produced at her sister's studio on Fitzroy Street in 1935. 1936 saw another collapse of her health following the completion of The Years. The Woolf's final residence in London was at 37 Mecklenburgh Square (1939–1940), destroyed during the Blitz in September 1940; a month later their previous home on Tavistock Square was also destroyed. After that, they made Sussex their permanent home. For descriptions and illustrations of all Virginia Woolf's London homes, see Jean Moorcroft Wilson's book Virginia Woolf, Life and London: A Biography of Place (pub. Cecil Woolf, 1987). Hogarth Press (1917–1938) Virginia had taken up book-binding as a pastime in October 1901, at the age of 19, and the Woolfs had been discussing setting up a publishing house for some time, and at the end of 1916 started making plans. Having discovered that they were not eligible to enroll in the St Bride School of Printing, they started purchasing supplies after seeking advice from the Excelsior Printing Supply Company on Farringdon Road in March 1917, and soon they had a printing press set up on their dining room table at Hogarth House, and the Hogarth Press was born. Their first publication was Two Stories in July 1917, inscribed Publication No. 1, and consisted of two short stories, "The Mark on the Wall" by Virginia Woolf and Three Jews by Leonard Woolf. The work consisted of 32 pages, hand bound and sewn, and illustrated by woodcuts designed by Dora Carrington. The illustrations were a success, leading Virginia to remark that the press was "specially good at printing pictures, and we see that we must make a practice of always having pictures." (13 July 1917) The process took two and a half months with a production run of 150 copies. Other short short stories followed, including Kew Gardens (1919) with a woodblock by Vanessa Bell as frontispiece. Subsequently, Bell added further illustrations, adorning each page of the text. The press subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others. The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell. Woolf believed that to break free of a patriarchal society women writers needed a "room of their own" to develop and often fantasised about an "Outsider's Society" where women writers would create a virtual private space for themselves via their writings to develop a feminist critique of society. Though Woolf never created the "Outsider's society", the Hogarth Press was the closest approximation as the Woolfs chose to publish books by writers that took unconventional points of view to form a reading community. Initially the press concentrated on small experimental publications, of little interest to large commercial publishers. Until 1930, Woolf often helped her husband print the Hogarth books as the money for employees was not there. Virginia relinquished her interest in 1938, following a third attempted suicide. After it was bombed in September 1940, the press was moved to Letchworth for the remainder of the war. Both the Woolfs were internationalists and pacifists who believed that promoting understanding between peoples was the best way to avoid another world war and chose quite consciously to publish works by foreign authors of whom the British reading public were unaware. The first non-British author to be published was the Soviet writer Maxim Gorky, the book Reminiscences of Leo Nikolaiovich Tolstoy in 1920, dealing with his friendship with Count Leo Tolstoy. Memoir Club (1920–1941) 1920 saw a postwar reconstitution of the Bloomsbury Group, under the title of the Memoir Club, which as the name suggests focussed on self-writing, in the manner of Proust's A La Recherche, and inspired some of the more influential books of the 20th century. The Group, which had been scattered by the war, was reconvened by Mary ('Molly') MacCarthy who called them "Bloomsberries", and operated under rules derived from the Cambridge Apostles, an elite university debating society that a number of them had been members of. These rules emphasised candour and openness. Among the 125 memoirs presented, Virginia contributed three that were published posthumously in 1976, in the autobiographical anthology Moments of Being. These were 22 Hyde Park Gate (1921), Old Bloomsbury (1922) and Am I a Snob? (1936). Vita Sackville-West (1922–1941) The ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and on 14 December 1922 Woolf met the writer and gardener Vita Sackville-West, wife of Harold Nicolson, while dining with Clive Bell. Writing in her diary the next day, she referred to meeting "the lovely gifted aristocratic Sackville West". At the time, Sackville-West was the more successful writer as both poet and novelist, commercially and critically, and it was not until after Woolf's death that she became considered the better writer. After a tentative start, they began a sexual relationship, which, according to Sackville-West in a letter to her husband on 17 August 1926, was only twice consummated. The relationship reached its peak between 1925 and 1928, evolving into more of a friendship through the 1930s, though Woolf was also inclined to brag of her affairs with other women within her intimate circle, such as Sibyl Colefax and Comtesse de Polignac. This period of intimacy was to prove fruitful for both authors, Woolf producing three novels, To the Lighthouse (1927), Orlando (1928), and The Waves (1931) as well as a number of essays, including "Mr. Bennett and Mrs. Brown" (1924) and "A Letter to a Young Poet" (1932). Sackville-West worked tirelessly to lift Woolf's self-esteem, encouraging her not to view herself as a quasi-reclusive inclined to sickness who should hide herself away from the world, but rather offered praise for her liveliness and wit, her health, her intelligence and achievements as a writer. Sackville-West led Woolf to reappraise herself, developing a more positive self-image, and the feeling that her writings were the products of her strengths rather than her weakness. Starting at the age of 15, Woolf had believed the diagnosis by her father and his doctor that reading and writing were deleterious to her nervous condition, requiring a regime of physical labour such as gardening to prevent a total nervous collapse. This led Woolf to spend much time obsessively engaging in such physical labour. Sackville-West was the first to argue to Woolf she had been misdiagnosed, and that it was far better to engage in reading and writing to calm her nerves—advice that was taken. Under the influence of Sackville-West, Woolf learned to deal with her nervous ailments by switching between various forms of intellectual activities such as reading, writing and book reviews, instead of spending her time in physical activities that sapped her strength and worsened her nerves. Sackville-West chose the financially struggling Hogarth Press as her publisher to assist the Woolfs financially. Seducers in Ecuador, the first of the novels by Sackville-West published by Hogarth, was not a success, selling only 1500 copies in its first year, but the next Sackville-West novel they published, The Edwardians, was a best-seller that sold 30,000 copies in its first six months. Sackville-West's novels, though not typical of the Hogarth Press, saved Hogarth, taking them from the red into the black. However, Woolf was not always appreciative of the fact that it was Sackville-West's books that kept the Hogarth Press profitable, writing dismissively in 1933 of her "servant girl" novels. The financial security allowed by the good sales of Sackville-West's novels in turn allowed Woolf to engage in more experimental work, such as The Waves, as Woolf had to be cautious when she depended upon Hogarth entirely for her income. In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both sexes. It was published in October, shortly after the two women spent a week travelling together in France, that September. Nigel Nicolson, Vita Sackville-West's son, wrote, "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her." After their affair ended, the two women remained friends until Woolf's death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of typhoid fever at the age of 26. Sussex (1911–1941) Virginia was needing a country retreat to escape to, and on 24 December 1910, she found a house for rent in Firle, Sussex, near Lewes (see Map). She obtained a lease and took possession of the house the following month, naming it 'Little Talland House', after their childhood home in Cornwall, although it was actually a new red gabled villa on the main street opposite the village hall. The lease was a short one, and in October, she and Leonard Woolf found Asham House at Asheham a few miles to the west, while walking along the Ouse from Firle. The house, at the end of a tree-lined road was a strange beautiful Regency-Gothic house in a lonely location. She described it as "flat, pale, serene, yellow-washed", without electricity or water and allegedly haunted. She took out a five-year lease jointly with Vanessa in the New Year, and they moved into it in February 1912, holding a house warming party on the 9th. It was at Asham that the Woolfs spent their wedding night later that year. At Asham, she recorded the events of the weekends and holidays they spent there in her Asham Diary, part of which was later published as A Writer's Diary in 1953. In terms of creative writing, The Voyage Out was completed there, and much of Night and Day. Asham provided Woolf with well needed relief from the pace of London life and was where she found a happiness that she expressed in her diary of 5 May 1919 "Oh, but how happy we've been at Asheham! It was a most melodious time. Everything went so freely; – but I can't analyse all the sources of my joy". Asham was also the inspiration for A Haunted House (1921–1944), and was painted by members of the Bloomsbury Group, including Vanessa Bell and Roger Fry. It was during these times at Asham that Ka Cox (seen here) started to devote herself to Virginia and become very useful. While at Asham Leonard and Virginia found a farmhouse in 1916, that was to let, about four miles away, which they thought would be ideal for her sister. Eventually, Vanessa came down to inspect it, and moved in in October of that year, taking it as a summer home for her family. The Charleston Farmhouse was to become the summer gathering place for the literary and artistic circle of the Bloomsbury Group. After the end of the war, in 1918, the Woolfs were given a year's notice by the landlord, who needed the house. In mid-1919, "in despair", they purchased "a very strange little house" for £300, the Round House in Pipe Passage, Lewes, a converted windmill. No sooner had they bought the Round House, than Monk's House in nearby Rodmell, came up for auction, a weatherboarded house with oak beamed rooms, said to be 15th or 16th century. The Leonards favoured the latter because of its orchard and garden, and sold the Round House, to purchase Monk's House for £700. Monk's House also lacked water and electricity, but came with an acre of garden, and had a view across the Ouse towards the hills of the South Downs. Leonard Woolf describes this view (and the amenities) as being unchanged since the days of Chaucer. From 1940, it became their permanent home after their London home was bombed, and Virginia continued to live there until her death. Meanwhile, Vanessa made Charleston her permanent home in 1936. It was at Monk's House that Virginia completed Between the Acts in early 1941, followed by a further breakdown directly resulting in her suicide on 28 March 1941, the novel being published posthumously later that year. The Neo-pagans (1911–1912) During her time in Firle, Virginia became better acquainted with Rupert Brooke and his group of Neo-Pagans, pursuing socialism, vegetarianism, exercising outdoors and alternative life styles, including social nudity. They were influenced by the ethos of Bedales, Fabianism and Shelley. The women wore sandals, socks, open neck shirts and head-scarves. Although she had some reservations, Woolf was involved with their activities for a while, fascinated by their bucolic innocence in contrast to the sceptical intellectualism of Bloomsbury, which earned her the nickname "The Goat" from her brother Adrian. While Woolf liked to make much of a weekend she spent with Brooke at the vicarage in Grantchester, including swimming in the pool there, it appears to have been principally a literary assignation. They also shared a psychiatrist in the name of Maurice Craig. Through the Neo-Pagans, she finally met Ka Cox on a weekend in Oxford in January 1911, who had been part of the Friday Club circle and now became her friend and played an important part in dealing with her illnesses. Virginia nicknamed her "Bruin". At the same time, she found herself dragged into a triangular relationship involving Ka, Jacques Raverat and Gwen Darwin. She became resentful of the other couple, Jacques and Gwen, who married later in 1911, not the outcome Virginia had predicted or desired. They would later be referred to in both To the Lighthouse and The Years. The exclusion she felt evoked memories of both Stella Duckworth's marriage and her triangular involvement with Vanessa and Clive. The two groups eventually fell out. Brooke pressured Ka into withdrawing from joining Virginia's ménage on Brunswick Square in late 1911, calling it a "bawdy-house" and by the end of 1912 he had vehemently turned against Bloomsbury. Later, she would write sardonically about Brooke, whose premature death resulted in his idealisation, and express regret about "the Neo-Paganism at that stage of my life". Virginia was deeply disappointed when Ka married William Edward Arnold-Forster in 1918, and became increasingly critical of her. Mental health Much examination has been made of Woolf's mental health (e.g., see Mental health bibliography). From the age of 13, following the death of her mother, Woolf suffered periodic mood swings from severe depression to manic excitement, including psychotic episodes, which the family referred to as her "madness". However, as Hermione Lee points out, Woolf was not "mad"; she was merely a woman who suffered from and struggled with illness for much of her relatively short life, a woman of "exceptional courage, intelligence and stoicism", who made the best use, and achieved the best understanding she could of that illness. Psychiatrists today contend that her illness constitutes bipolar disorder (manic-depressive illness). Her mother's death in 1895, "the greatest disaster that could happen", precipitated a crisis of alternating excitability and depression accompanied by irrational fears, for which their family doctor, Dr. Seton, prescribed rest, stopping lessons and writing, and regular walks supervised by Stella. Yet just two years later, Stella too was dead, bringing on her next crisis in 1897, and her first expressed wish for death at the age of fifteen, writing in her diary that October that "death would be shorter & less painful". She then stopped keeping a diary for some time. This was a scenario she would later recreate in "Time Passes" (To the Lighthouse, 1927). The death of her father in 1904 provoked her most alarming collapse, on 10 May, when she threw herself out a window and she was briefly institutionalised under the care of her father's friend, the eminent psychiatrist George Savage. Savage blamed her education—frowned on by many at the time as unsuitable for women—for her illness. She spent time recovering at the house of Stella's friend Violet Dickinson, and at her aunt Caroline's house in Cambridge, and by January 1905, Dr. Savage considered her "cured". Violet, seventeen years older than Virginia, became one of her closest friends and one of her more effective nurses. She characterised it as a "romantic friendship" (Letter to Violet 4 May 1903). Her brother Thoby's death in 1906 marked a "decade of deaths” that ended her childhood and adolescence. Gordon (2004) writes: "Ghostly voices spoke to her with increasing urgency, perhaps more real than the people who lived by her side. When voices of the dead urged her to impossible things, they drove her mad but, controlled, they became the material of fiction..." On Dr. Savage's recommendation, Virginia spent three short periods in 1910, 1912, and 1913 at Burley House at 15 Cambridge Park, Twickenham (see image), described as "a private nursing home for women with nervous disorder" run by Miss Jean Thomas. By the end of February 1910, she was becoming increasingly restless, and Dr. Savage suggested being away from London. Vanessa rented Moat House, outside Canterbury, in June, but there was no improvement, so Dr. Savage sent her to Burley for a "rest cure". This involved partial isolation, deprivation of literature, and force-feeding, and after six weeks she was able to convalesce in Cornwall and Dorset during the autumn. She loathed the experience; writing to her sister on 28 July, she described how she found the phony religious atmosphere stifling and the institution ugly, and informed Vanessa that to escape "I shall soon have to jump out of a window." The threat of being sent back would later lead to her contemplating suicide. Despite her protests, Savage would refer her back in 1912 for insomnia and in 1913 for depression. On emerging from Burley House in September 1913, she sought further opinions from two other physicians on the 13th: Maurice Wright, and Henry Head, who had been Henry James's physician. Both recommended she return to Burley House. Distraught, she returned home and attempted suicide by taking an overdose of 100 grains of veronal (a barbiturate) and nearly dying: she was found by Ka Cox, who summoned help. On recovery, she went to Dalingridge Hall, George Duckworth's home in East Grinstead, Sussex, to convalesce on 30 September, accompanied by Ka Cox and a nurse, returning to Asham on 18 November with Cox and Janet Case. She remained unstable over the next two years, with another incident involving veronal that she claimed was an "accident", and consulted another psychiatrist in April 1914, Maurice Craig, who explained that she was not sufficiently psychotic to be certified or committed to an institution. The rest of the summer of 1914 went better for her, and they moved to Richmond, but in February 1915, just as The Voyage Out was due to be published, she relapsed once more, and remained in poor health for most of that year. Then, despite Miss Thomas's gloomy prognosis, she began to recover, following 20 years of ill health. Nevertheless, there was a feeling among those around her that she was now permanently changed, and not for the better. Over the rest of her life, she suffered recurrent bouts of depression. In 1940, a number of factors appeared to overwhelm her. Her biography of Roger Fry had been published in July, and she had been disappointed in its reception. The horrors of war depressed her, and their London homes had been destroyed in the Blitz in September and October. Woolf had completed Between the Acts (published posthumously in 1941) in November, and completing a novel was frequently accompanied by exhaustion. Her health became increasingly a matter of concern, culminating in her decision to end her life on 28 March 1941. Though this instability would frequently affect her social life, she was able to continue her literary productivity with few interruptions throughout her life. Woolf herself provides not only a vivid picture of her symptoms in her diaries and letters, but also her response to the demons that haunted her and at times made her long for death: "But it is always a question whether I wish to avoid these glooms... These 9 weeks give one a plunge into deep waters... One goes down into the well & nothing protects one from the assault of truth." Psychiatry had little to offer Woolf, but she recognised that writing was one of the behaviours that enabled her to cope with her illness: "The only way I keep afloat... is by working... Directly I stop working I feel that I am sinking down, down. And as usual, I feel that if I sink further I shall reach the truth." Sinking under water was Woolf's metaphor for both the effects of depression and psychosis— but also for finding truth, and ultimately was her choice of death. Throughout her life, Woolf struggled, without success, to find meaning in her illness: on the one hand, an impediment, on the other, something she visualised as an essential part of who she was, and a necessary condition of her art. Her experiences informed her work, such as the character of Septimus Warren Smith in Mrs Dalloway (1925), who, like Woolf, was haunted by the dead, and ultimately takes his own life rather than be admitted to a sanitorium. Leonard Woolf relates how during the 30 years they were married, they consulted many doctors in the Harley Street area, and although they were given a diagnosis of neurasthenia, he felt they had little understanding of the causes or nature. The proposed solution was simple—as long as she lived a quiet life without any physical or mental exertion, she was well. On the other hand, any mental, emotional, or physical strain resulted in a reappearance of her symptoms, beginning with a headache, followed by insomnia and thoughts that started to race. Her remedy was simple: to retire to bed in a darkened room, eat, and drink plenty of milk, following which the symptoms slowly subsided. Modern scholars, including her nephew and biographer, Quentin Bell, have suggested her breakdowns and subsequent recurring depressive periods were influenced by the sexual abuse which she and her sister Vanessa were subjected to by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays "A Sketch of the Past" and "22 Hyde Park Gate") (see Sexual abuse). Biographers point out that when Stella died in 1897, there was no counterbalance to control George's predation, and his nighttime prowling. Virginia describes him as her first lover, "The old ladies of Kensington and Belgravia never knew that George Duckworth was not only father and mother, brother and sister to those poor Stephen girls; he was their lover also." It is likely that other factors also played a part. It has been suggested that they include genetic predisposition, for both trauma and family history have been implicated in bipolar disorder. Virginia's father, Leslie Stephen, suffered from depression, and her half-sister Laura was institutionalised. Many of Virginia's symptoms, including persistent headache, insomnia, irritability, and anxiety, resembled of her father's. Another factor is the pressure she placed upon herself in her work; for instance, her breakdown of 1913 was at least partly triggered by the need to finish The Voyage Out. Virginia herself hinted that her illness was related to how she saw the repressed position of women in society, when she wrote in A Room of One's Own that had Shakespeare had a sister of equal genius, she "would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at". These inspirations emerged from what Woolf referred to as her lava of madness, describing her time at Burley in a 1930 letter to Ethel Smyth: Thomas Caramagno and others, in discussing her illness, oppose the "neurotic-genius" way of looking at mental illness, where creativity and mental illness are conceptualised as linked rather than antithetical. Stephen Trombley describes Woolf as having a confrontational relationship with her doctors, and possibly being a woman who is a "victim of male medicine", referring to the lack of understanding, particularly at the time, about mental illness. Death After completing the manuscript of her last novel (posthumously published), Between the Acts (1941), Woolf fell into a depression similar to one which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work. When Leonard enlisted in the Home Guard, Virginia disapproved. She held fast to her pacifism and criticised her husband for wearing what she considered to be "the silly uniform of the Home Guard". After World War II began, Woolf's diary indicates that she was obsessed with death, which figured more and more as her mood darkened. On 28 March 1941, Woolf drowned herself by filling her overcoat pockets with stones and walking into the River Ouse near her home. Her body was not found until 18 April. Her husband buried her cremated remains beneath an elm tree in the garden of Monk's House, their home in Rodmell, Sussex. In her suicide note, addressed to her husband, she wrote: Work Woolf is considered to be one of the more important 20th century novelists. A modernist, she was one of the pioneers of using stream of consciousness as a narrative device, alongside contemporaries such as Marcel Proust, Dorothy Richardson and James Joyce. Woolf's reputation was at its greatest during the 1930s, but declined considerably following World War II. The growth of feminist criticism in the 1970s helped re-establish her reputation. Virginia submitted her first article in 1890, to a competition in Tit-Bits. Although it was rejected, this shipboard romance by the 8-year-old would presage her first novel 25 years later, as would contributions to the Hyde Park News, such as the model letter "to show young people the right way to express what is in their hearts", a subtle commentary on her mother's legendary matchmaking. She transitioned from juvenilia to professional journalism in 1904 at the age of 22. Violet Dickinson introduced her to Mrs. Lyttelton, the editor of the Women's Supplement of The Guardian, a Church of England newspaper. Invited to submit a 1,500-word article, Virginia sent Lyttelton a review of W.D. Howells' The Son of Royal Langbirth and an essay about her visit to Haworth that year, Haworth, November 1904. The review was published anonymously on 4 December, and the essay on the 21st. In 1905, Woolf began writing for The Times Literary Supplement. Woolf would go on to publish novels and essays as a public intellectual to both critical and popular acclaim. Much of her work was self-published through the Hogarth Press. "Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: she is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions." "The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings"—often wartime environments—"of most of her novels." Fiction and drama Novels Her first novel, The Voyage Out, was published in 1915 at the age of 33, by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally titled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life. The novel is set on a ship bound for South America, and a group of young Edwardians onboard and their various mismatched yearnings and misunderstandings. In the novel are hints of themes that would emerge in later work, including the gap between preceding thought and the spoken word that follows, and the lack of concordance between expression and underlying intention, together with how these reveal to us aspects of the nature of love. "Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars". "To the Lighthouse (1927) is set on two days ten years apart. The plot centres on the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind." It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them. Orlando: A Biography (1928) is one of Virginia Woolf's lightest novels. A parodic biography of a young nobleman who lives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf's lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, Knole House, though it is also a satirical treatment of Vita and her work. In Orlando, the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed for it to be mocked. "The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centred novel". Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog's point of view. Woolf was inspired to write this book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by the actress Katharine Cornell. The Years (1936), traces the history of the genteel Pargiter family from the 1880s to the "present day" of the mid-1930s. The novel had its origin in a lecture Woolf gave to the National Society for Women's Service in 1931, an edited version of which would later be published as "Professions for Women". Woolf first thought of making this lecture the basis of a new book-length essay on women, this time taking a broader view of their economic and social life, rather than focusing on women as artists, as the first book had. She soon jettisoned the theoretical framework of her "novel-essay" and began to rework the book solely as a fictional narrative, but some of the non-fiction material she first intended for this book was later used in Three Guineas (1938). "Her last work, Between the Acts (1941), sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history." This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse. While Woolf's work can be understood as consistently in dialogue with the Bloomsbury Group, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals. Themes Woolf's fiction has been studied for its insight into many themes including war, shell shock, witchcraft, and the role of social class in contemporary modern British society. In the postwar Mrs Dalloway (1925), Woolf addresses the moral dilemma of war and its effects and provides an authentic voice for soldiers returning from World War I, suffering from shell shock, in the person of Septimus Smith. In A Room of One's Own (1929) Woolf equates historical accusations of witchcraft with creativity and genius among women "When, however, one reads of a witch being ducked, of a woman possessed by devils...then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen". Throughout her work Woolf tried to evaluate the degree to which her privileged background framed the lens through which she viewed class. She both examined her own position as someone who would be considered an elitist snob, but attacked the class structure of Britain as she found it. In her 1936 essay Am I a Snob?, she examined her values and those of the privileged circle she existed in. She concluded she was, and subsequent critics and supporters have tried to deal with the dilemma of being both elite and a social critic. The sea is a recurring motif in Woolf's work. Noting Woolf's early memory of listening to waves break in Cornwall, Katharine Smyth writes in The Paris Review that "the radiance [of] cresting water would be consecrated again and again in her writing, saturating not only essays, diaries, and letters but also Jacob’s Room, The Waves, and To the Lighthouse." Patrizia A. Muscogiuri explains that "seascapes, sailing, diving and the sea itself are aspects of nature and of human beings’ relationship with it which frequently inspired Virginia Woolf's writing." This trope is deeply embedded in her texts’ structure and grammar; James Antoniou notes in Sydney Morning Herald how "Woolf made a virtue of the semicolon, the shape and function of which resembles the wave, her most famous motif." Despite the considerable conceptual difficulties, given Woolf's idiosyncratic use of language, her works have been translated into over 50 languages. Some writers, such as the Belgian Marguerite Yourcenar, had rather tense encounters with her, while others, such as the Argentinian Jorge Luis Borges, produced versions that were highly controversial. Drama Virginia Woolf researched the life of her great-aunt, the photographer Julia Margaret Cameron, publishing her findings in an essay titled "Pattledom" (1925), and later in her introduction to her 1926 edition of Cameron's photographs. She had begun work on a play based on an episode in Cameron's life in 1923, but abandoned it. Finally it was performed on 18 January 1935 at the studio of her sister, Vanessa Bell on Fitzroy Street in 1935. Woolf directed it herself, and the cast were mainly members of the Bloomsbury Group, including herself. Freshwater is a short three act comedy satirising the Victorian era, only performed once in Woolf's lifetime. Beneath the comedic elements, there is an exploration of both generational change and artistic freedom. Both Cameron and Woolf fought against the class and gender dynamics of Victorianism and the play shows links to both To the Lighthouse and A Room of One's Own that would follow. Non-fiction Woolf wrote a body of autobiographical work and more than 500 essays and reviews, some of which, like A Room of One's Own (1929) were of book length. Not all were published in her lifetime. Shortly after her death, Leonard Woolf produced an edited edition of unpublished essays titled The Moment and other Essays, published by the Hogarth Press in 1947. Many of these were originally lectures that she gave, and several more volumes of essays followed, such as The Captain's Death Bed: and other essays (1950). A Room of One's Own Among Woolf's non-fiction works, one of the best known is A Room of One's Own (1929), a book-length essay. Considered a key work of feminist literary criticism, it was written following two lectures she delivered on "Women and Fiction" at Cambridge University the previous year. In it, she examines the historical disempowerment women have faced in many spheres, including social, educational and financial. One of her more famous dicta is contained within the book "A woman must have money and a room of her own if she is to write fiction". Much of her argument ("to show you how I arrived at this opinion about the room and the money") is developed through the "unsolved problems" of women and fiction writing to arrive at her conclusion, although she claimed that was only "an opinion upon one minor point". In doing so, she states a good deal about the nature of women and fiction, employing a quasi-fictional style as she examines where women writers failed because of lack of resources and opportunities, examining along the way the experiences of the Brontës, George Eliot and George Sand, as well as the fictional character of Shakespeare's sister, equipped with the same genius but not position. She contrasted these women who accepted a deferential status with Jane Austen, who wrote entirely as a woman. Influences Michel Lackey argues that a major influence on Woolf, from 1912 onward, was Russian literature and Woolf adopted many of its aesthetic conventions. The style of Fyodor Dostoyevsky with his depiction of a fluid mind in operation helped to influence Woolf's writings about a "discontinuous writing process", though Woolf objected to Dostoyevsky's obsession with "psychological extremity" and the "tumultuous flux of emotions" in his characters together with his right-wing, monarchist politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire. In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy. Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings. From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within. Lackey notes that, from Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overarching vision, which required a "total passion" for art. The American writer Henry David Thoreau also influenced Woolf. In a 1917 essay, she praised Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive." They both aimed to capture 'the moment'––as Walter Pater says, "to burn always with this hard, gem-like flame." Woolf praised Thoreau for his "simplicity" in finding "a way for setting free the delicate and complicated machinery of the soul". Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world. Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them. Woolf and Thoreau were both concerned with the difficulty of human relationships in the modern age. Other notable influences include William Shakespeare, George Eliot, Leo Tolstoy, Marcel Proust, Anton Chekhov, Emily Brontë, Daniel Defoe, James Joyce, and E.M. Forster. List of selected publications see , , Novels see also The Voyage Out & Complete text see also Night and Day & Complete text see also Jacob's Room & Complete text see also Mrs Dalloway & Complete text see also To the Lighthouse & Complete text, also Texts at Woolf Online see also Orlando: A Biography & Complete text see also The Waves & Complete text see also Between the Acts & Complete text Short stories see also A Haunted House and Other Short Stories & Complete text see also The Mark on the Wall & Complete text see also Kew Gardens & Complete text Cross-genre see also Flush: A Biography & Complete text Drama see also Freshwater Biography see also Roger Fry: A Biography & Complete text Essays see also A Room of One's Own & Complete text see also Mr. Bennett and Mrs. Brown & Complete text see also A Letter to a Young Poet & Complete text see also Three Guineas & Complete text Essay collections (Review) (Review) Complete text (Review) First American edition published by Harcourt, Brace and Company, New York, 1950. & also here — (1934). "Walter Sickert: A Conversation". Contributions (Digital edition) Autobiographical writing (Review) (see Moments of Being) , in (excerpts) , in (excerpts – 1st ed.) Memoir Club Contributions Diaries and notebooks Letters (Review) Photograph albums List of Album Guides Album 1 MS Thr 557 (1863–1938) Album 2 MS Thr 559 (1909–1922) Album 3 MS Thr 560 (1890–1933) Album 4 MS Thr 561 (1890–1947) Album 5 MS Thr 562 (1892–1938) Album 6 MS Thr 563 (1850–1900) Collections Views In her lifetime, Woolf was outspoken on many topics that were considered controversial, some of which are now considered progressive, others regressive. She was an ardent feminist at a time when women's rights were barely recognised, and anti-colonialist, anti-imperialist and a pacifist when chauvinism was popular. On the other hand, she has been criticised for views on class and race in her private writings and published works. Like many of her contemporaries, some of her writing is now considered offensive. As a result, she is considered polarising, a revolutionary feminist and socialist hero or a purveyor of hate speech. Works such as A Room of One's Own (1929) and Three Guineas (1938) are frequently taught as icons of feminist literature in courses that would be very critical of some of her views expressed elsewhere. She has also been the recipient of considerable homophobic and misogynist criticism. Humanist views Virginia Woolf was born into a non-religious family and is regarded, along with her fellow Bloomsberries E.M. Forster and G.E. Moore, as a humanist. Both her parents were prominent agnostic atheists. Her father, Leslie Stephen, had become famous in polite society for his writings which expressed and publicised reasons to doubt the veracity of religion. Stephen was also President of the West London Ethical Society, an early humanist organisation, and helped to found the Union of Ethical Societies in 1896. Woolf's mother, Julia Stephen, wrote the book Agnostic Women (1880), which argued that agnosticism (defined here as something more like atheism) could be a highly moral approach to life. Woolf was a critic of Christianity. In a letter to Ethel Smyth, she gave a scathing denunciation of the religion, seeing it as self-righteous "egotism" and stating "my Jew [Leonard] has more religion in one toenail—more human love, in one hair". Woolf stated in her private letters that she thought of herself as an atheist. Controversies Hermione Lee cites a number of extracts from Woolf's writings that many, including Lee, would consider offensive, and these criticisms can be traced back as far as those of Wyndham Lewis and Q.D. Leavis in the 1920s and 1930s. Other authors provide more nuanced contextual interpretations, and stress the complexity of her character and the apparent inherent contradictions in analysing her apparent flaws. She could certainly be off-hand, rude and even cruel in her dealings with other authors, translators and biographers, such as her treatment of Ruth Gruber. Some authors, particularly postcolonial feminists dismiss her (and modernist authors in general) as privileged, elitist, classist, racist, and antisemitic. Woolf's tendentious expressions, including prejudicial feelings against disabled people, have often been the topic of academic criticism: The first quotation is from a diary entry of September 1920 and runs: "The fact is the lower classes are detestable." The remainder follow the first in reproducing stereotypes standard to upper-class and upper-middle class life in the early 20th century: "imbeciles should certainly be killed"; "Jews" are greasy; a "crowd" is both an ontological "mass" and is, again, "detestable"; "Germans" are akin to vermin; some "baboon faced intellectuals" mix with "sad green dressed negroes and negresses, looking like chimpanzees" at a peace conference; Kensington High St. revolts one's stomach with its innumerable "women of incredible mediocrity, drab as dishwater". Antisemitism Though accused of antisemitism, the treatment of Judaism and Jews by Woolf is far from straightforward. She was happily married to a Jewish man (Leonard Woolf) but often wrote about Jewish characters using stereotypes and generalisations. For instance, she described some of the Jewish characters in her work in terms that suggested they were physically repulsive or dirty. On the other hand, she could criticise her own views: "How I hated marrying a Jew — how I hated their nasal voices and their oriental jewellery, and their noses and their wattles — what a snob I was: for they have immense vitality, and I think I like that quality best of all" (Letter to Ethel Smyth 1930). These attitudes have been construed to reflect, not so much antisemitism, but tribalism; she married outside her social grouping, and Leonard Woolf, too, expressed misgivings about marrying a gentile. Leonard, "a penniless Jew from Putney", lacked the material status of the Stephens and their circle. While travelling on a cruise to Portugal, she protested at finding "a great many Portuguese Jews on board, and other repulsive objects, but we keep clear of them". Furthermore, she wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." Her 1938 short story The Duchess and the Jeweller (originally titled The Duchess and the Jew) has been considered antisemitic. Yet Woolf and her husband Leonard came to despise and fear the 1930s fascism and antisemitism. Her 1938 book Three Guineas was an indictment of fascism and what Woolf described as a recurring propensity among patriarchal societies to enforce repressive societal mores by violence. Sexuality The Bloomsbury Group held very progressive views regarding sexuality and shucked the austere strictness of Victorian society. The majority of its members were homosexual or bisexual. Virginia was most likely a lesbian, some debate that she was bisexual. However she had several affairs with women, the most notable being with Vita Sackville-West which inspired Orlando: A Biography. The two of them remained lovers for a decade and stayed close friends for the rest of Virginia's life. Virginia had said to Vita she disliked masculinity Among her other notable affairs were Sibyl Colefax, Lady Ottoline Morrell and Mary Hutchinson. Some surmise that she may have fallen in love with Madge Symonds, the wife of one of her uncles. Madge Symonds was described as one of Virginia's early loves in Vita's diary She also fell in love with Violet Dickinson although there is some confusion as to whether the two consummated their relationship. In regards to relationships with men, Virginia was averse to sex with them, blaming the sexual abuse perpetrated upon her and her sister by her half-brothers when they were children and teens. This is one of the reasons she initially declined marriage proposals from her future husband, Leonard. She even went as far as to tell him that she was not attracted to him, but that she did love him and finally agreed to marriage. Virginia preferred female lovers to male lovers, for the most part, based on her aversion to sex with men. This aversion to relations with men influenced her writing especially when considering her sexual abuse as a child. Leonard became the love of her life and even though their sexual relationship was questionable, they loved each other deeply and formed a strong, supportive and prolific marriage which led to the formation of their publishing house as well as several of her writings. Neither was faithful to the other sexually, but they were faithful in their love and respect for each other. Modern scholarship and interpretations Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell. Hermione Lee's 1996 biography Virginia Woolf provides a thorough and authoritative examination of Woolf's life and work, which she discussed in an interview in 1997. In 2001, Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life (2005) focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. The sociologist Pierre Bourdieu also uses Woolf's literature to understand and analyse gender domination. Woolf biographer Gillian Gill notes that Woolf's traumatic experience of sexual abuse by her half-brothers during her childhood influenced her advocacy of protection of vulnerable children from similar experiences. Virginia Woolf and her mother The intense scrutiny of Virginia Woolf's literary output (see Bibliography) has led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter. Woolf states that, "my first memory, and in fact it is the most important of all my memories" is of her mother. Her memories of her mother are memories of an obsession, starting with her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect. In many ways, her mother's profound influence on Virginia Woolf is conveyed in the latter's recollections, "there she is; beautiful, emphatic ... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children". Woolf described her mother as an "invisible presence" in her life, and Ellen Rosenman argues that the mother-daughter relationship is a constant in Woolf's writing. She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death. Julia's influence and memory pervades Woolf's life and work. "She has haunted me", she wrote. Historical feminism According to the 2007 book Feminism: From Mary Wollstonecraft to Betty Friedan by Bhaskar A. Shukla, "Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer." In 1928, Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge and the Arts Society at Newnham College with two papers that eventually became A Room of One's Own (1929). Woolf's best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society. In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield— have explored "the given". In popular culture Who's Afraid of Virginia Woolf? is a 1962 play by Edward Albee. It examines the structure of the marriage of an American middle-aged academic couple, Martha and George. Mike Nichols directed a film version in 1966, starring Elizabeth Taylor and Richard Burton. Taylor won the 1966 Academy Award for Best Actress for the role. Me! I'm Afraid of Virginia Woolf, a 1978 TV play, references the title of the Edward Albee play and features an English literature teacher who has a poster of her. It was written by Alan Bennett and directed by Stephen Frears. The artwork The Dinner Party (1979) features a place setting for Woolf. The 1996 album Poetic Justice, by British musician Steve Harley, contains a tribute to Woolf, specifically her most adventurous novel, in its closing track: "Riding the Waves (for Virginia Woolf)". Michael Cunningham's 1998 Pulitzer Prize-winning novel The Hours focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released, starring Nicole Kidman as Woolf. Kidman won the 2003 Academy Award for her portrayal. Susan Sellers's novel Vanessa and Virginia (2008) explores the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre Company. Priya Parmar's 2014 novel Vanessa and Her Sister also examined the Stephen sisters' relationship during the early years of their association with what became known as the Bloomsbury Group. An exhibition on Virginia Woolf was held at the National Portrait Gallery from July to October 2014. In the 2014 novel The House at the End of Hope Street, Woolf is featured as one of the women who has lived in the titular house. Virginia is portrayed by both Lydia Leonard and Catherine McCormack in the BBC's three-part drama series Life in Squares (2015). On 25 January 2018, Google showed a Google doodle celebrating her 136th birthday. In many Barnes & Noble stores, Woolf is featured in Gary Kelly's Author Mural Panels, an imprint of the Barnes & Noble Author brand that also features other notable authors like Hurston, Tagore, and Kafka. The 2018 film Vita and Virginia depicts the relationship between Vita Sackville-West and Woolf, portrayed by Gemma Arterton and Elizabeth Debicki respectively. The 2020 novel Trio by William Boyd follows the life of Elfrida Wing, an alcoholic writer interested in the suicide of Woolf. Adaptations A number of Virginia Woolf's works have been adapted for the screen, and her play Freshwater (1935) is the basis for a 1994 chamber opera, Freshwater, by Andy Vores. The final segment of the 2018 London Unplugged is adapted from her short story Kew Gardens. Septimus and Clarissa, a stage adaptation of Mrs. Dalloway was created and produced by the New York-based ensemble Ripe Time in 2011 at the Baruch Performing Arts Center. It was adapted by Ellen McLaughlin, and directed and devised by Rachel Dickstein. It was nominated for a 2012 Drama League award for Outstanding Production, a Drama Desk nomination for Outstanding Score (Gina Leishman) and a Joe A. Calloway Award nomination for outstanding direction (Rachel Dickstein.) Legacy Virginia Woolf is known for her contributions to 20th-century literature and her essays, as well as the influence she has had on literary, particularly feminist criticism. A number of authors have stated that their work was influenced by her, including Margaret Atwood, Michael Cunningham, Gabriel García Márquez, and Toni Morrison. Her iconic image is instantly recognisable from the Beresford portrait of her at twenty (at the top of this page) to the Beck and Macgregor portrait in her mother's dress in Vogue at 44 (see image) or Man Ray's cover of Time magazine (see image) at 55. More postcards of Woolf are sold by the National Portrait Gallery, London than any other person. Her image is ubiquitous, and can be found on products ranging from tea towels to T-shirts. Virginia Woolf is studied around the world, with organisations such as the Virginia Woolf Society, and The Virginia Woolf Society of Japan. In addition, trusts—such as the Asham Trust—encourage writers in her honour. Although she had no descendants, a number of her extended family are notable. Monuments and memorials In 2013, Woolf was honoured by her alma mater of King's College London with the opening of the Virginia Woolf Building on Kingsway, with a plaque commemorating her time there and her contributions (see image), together with this exhibit depicting her accompanied by a quotation "London itself perpetually attracts, stimulates, gives me a play & a story & a poem" from her 1926 diary. Busts of Virginia Woolf have been erected at her home in Rodmell, Sussex and at Tavistock Square, London where she lived between 1924 and 1939. In 2014, she was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighbourhood noting LGBTQ people who have "made significant contributions in their fields". Woolf Works, a women's co-working space in Singapore, opened in 2014 and was named after her in tribute to the essay A Room of One's Own; it also has many other things named after it (see the essay's article). A campaign was launched in 2018 by Aurora Metro Arts and Media to erect a statue of Woolf in Richmond, where she lived for 10 years. The proposed statue shows her reclining on a bench overlooking the river Thames. Family trees see , , , \| Notes References Bibliography Books and theses see also The Second Sex see also Survey of London (Review) Biography: Virginia Woolf Vol. I: Virginia Stephen 1882 to 1912. London: Hogarth Press. 1972. Vol. II: Virginia Woolf 1912 to 1941. London: Hogarth Press. 1972. (Review) (Review) (Review) (additional excerpts) (Review) (excerpt - Chapter 1) (Review) (Review) (Review) (Illustrations of Woolf's London homes are excerpted at .) Mental health additional excerpts (summary) see also Touched with Fire Biography: Other (Review) (Review) (Review) (Review) (Review) (Review) also Internet archive also available through MOMA here Literary commentary (additional excerpts) (Review) additional excerpt (Review) (Review) (Review) Bloomsbury (additional excerpts) (Review) Chapters and contributions , in , in , in , in , in , in , in , in , in , in , in , in , in , in , in , in Articles Journals (text also available here) Dictionaries and encyclopaedias Newspapers and magazines archived version archived version with excerpt Websites and documents (includes invitation to first performance in 1935 and Lucio Ruotolo's introduction to the 1976 Hogarth Press edition) Blogs British Library Literary commentary British Library Virginia Woolf's homes and venues , in , in Virginia Woolf biography Timelines , in , in , in } , in Genealogy , in Images , in , in , in Maps , in Audiovisual media see also Life in Squares excerpt Selected online texts Audiofiles Archival material Bibliography notes Bibliography references External links Virginia Woolf Papers at the Mortimer Rare Book Collection, Smith College Special Collections 1882 births 1941 suicides 19th-century English women 19th-century English people 19th-century English writers 20th-century British short story writers 20th-century English women writers 20th-century English novelists 20th-century essayists 20th-century non-fiction writers Alumni of King's College London Bisexual women Bisexual writers Bloomsbury Group Bloomsbury Group biographers British anti-fascists British atheists British autobiographers British diarists British essayists British humanists British memoirists British pacifists British secularists British socialists British cultural critics British women dramatists and playwrights British women essayists British women short story writers Critics of Christianity Critics of Judaism Critics of new religious movements Critics of religions English anti-fascists English atheists English autobiographers English diarists English essayists English humanists English memoirists English pacifists English socialists English women dramatists and playwrights English women novelists LGBT memoirists LGBT writers from England Mental health activists Modernist women writers Modernist writers People from Kensington People with bipolar disorder British social commentators Social critics Stephen-Bell family Suicides by drowning in England Women diarists British women memoirists Writers about activism and social change Writers from London 20th-century memoirists Dreadnought hoax English feminist writers Atheist feminists People from Firle British feminists English feminists Lost Generation writers Pipe smokers	false	[ "Talland Bay () is west of the town of Looe in Cornwall. On Talland Bay are two sheltered shingle beaches, Talland Sand and Rotterdam Beach, and the bay was once well known as a landing spot for smugglers. It has also been the scene of many shipwrecks including that of a French trawler, the Marguerite, in March 1922. Two private boats performed a dramatic rescue and all 21 people were saved. The remains of the ship's boiler can still be clearly seen on the beach at low tide.\n\nThe hamlet of Talland with Talland Parish Church is nearby. Celebrity couple Richard Madeley and Judy Finnigan have a home in Talland Bay, There are several nautical measured miles around the British Isles including the mile between Talland Bay and Hannafore.\n\nLandscape and development\nThe area is one of the most unspoiled sections of the south west coast and is both a designated Area of Outstanding Beauty and a Heritage Coast, but in October 2007, Caradon District Council granted planning permission for a controversial development of 40 new homes costing between £285,000 and £350,000 after more than 100 local people lodged their objections.\n\nReferences\n\nExternal links\n\n Community website\n The Marguerite shipwreck\n\nBays of Cornwall\nPolperro", "Talland () is a hamlet and ecclesiastical parish between Looe and Polperro on the south coast of Cornwall (the parish includes the eastern part of the village of Polperro, where there is a chapel of ease and formerly also the town of West Looe). It is in the civil parish of Polperro and consists of a church, the Old Vicarage and a few houses.\n\nOn Talland Bay are two sheltered shingle beaches, Talland Sand and Rotterdam Beach, and the bay was once well known as a landing spot for smugglers. There are several small beaches in Talland Bay, served by a small car park and café. There is also Talland Bay Hotel. Two towers mark one end of a nautical measured mile, the other end is marked by two towers near Hannafore, West Looe.\n\nTalland Parish Church\n\nThe church at Talland, dramatically located on the cliff-top, is dedicated to St Tallan and as such is unique in Britain. Unusually it has a detached bell-tower on the south side which was joined to the main body of the church in the 15th century. There survives old woodwork in its fine wagon roofs; and the many benchends (partly ca. 1520, the rest ca. 1600) are of the usual Cornish type and among the finest examples of these.\n\nLandscape and development\nThe environment, one of the most unspoiled in south-west England, is a designated Area of Outstanding Natural Beauty and a Heritage Coast. In October 2007 Caradon District Council granted planning permission for the building of 40 houses costing between £285,000 and £350,000. This controversial development is supposedly in keeping with the local area.\n\nTalland Barton Farmland has been designated a Site of Special Scientific Interest for its assemblage of nationally rare and nationally scarce mosses; in particular for the many-fruited beardless moss (Weissia multicapsularis), which is known from only two sites worldwide.\n\nHistory and antiquities\nAn important source for the history is Jonathan Couch's History of Polperro, (1871), issued after his death by his son, Thomas Quiller Couch and abridgements of it have been issued many times since: see History of Polperro\n\nTalland Bay has been the scene of many shipwrecks including that of a French trawler, the Marguerite, in March 1922. Two private boats performed a dramatic rescue and all 21 people were saved. The remains of the ship's boiler can still be clearly seen on the beach at low tide.\n\nA stone cross was found in the 1920s at East Waylands Farm as part of farm buildings. On May 12, 1930 it was erected at Portlooe Cross, a road junction northeast of Portlooe Farm.\n\nWell-known occasional residents\nThe television presenters Richard Madeley and Judy Finnigan own a holiday home in Talland.\n\nReferences\n\n Talland Church 500 Celebrations: Souvenir Programme (1490-1990).\n\nExternal links\n\n Community website\n The Marguerite shipwreck\n Genealogical information\n Cornwall Record Office Online Catalogue for Talland\n\nHamlets in Cornwall\nPolperro" ]
[ "Virginia Woolf", "Talland House (1882-1894)", "what is talland house?", "a large white house in St. Ives, Cornwall," ]	C_8596d9535fe94e95907f37d55beb6a03_1	what happened at this house?	2	what happened at talland house?	Virginia Woolf	Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER	it was the highlight of the year, and Virginia's most vivid childhood memories	Adeline Virginia Woolf (; ; 25 January 1882 28 March 1941) was an English writer, considered one of the most important modernist 20th-century authors and a pioneer in the use of stream of consciousness as a narrative device. Woolf was born into an affluent household in South Kensington, London, the seventh child of Julia Prinsep Jackson and Leslie Stephen in a blended family of eight which included the modernist painter Vanessa Bell. She was home-schooled in English classics and Victorian literature from a young age. From 1897 to 1901, she attended the Ladies' Department of King's College London, where she studied classics and history and came into contact with early reformers of women's higher education and the women's rights movement. Encouraged by her father, Woolf began writing professionally in 1900. After her father's death in 1904, the Stephen family moved from Kensington to the more bohemian Bloomsbury, where, in conjunction with the brothers' intellectual friends, they formed the artistic and literary Bloomsbury Group. In 1912, she married Leonard Woolf, and in 1917, the couple founded the Hogarth Press, which published much of her work. They rented a home in Sussex and moved there permanently in 1940. Woolf had romantic relationships with women, including Vita Sackville-West, who also published her books through Hogarth Press. Both women's literature became inspired by their relationship, which lasted until Woolf's death. During the inter-war period, Woolf was an important part of London's literary and artistic society. In 1915, she had published her first novel, The Voyage Out, through her half-brother's publishing house, Gerald Duckworth and Company. Her best-known works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928). She is also known for her essays, including A Room of One's Own (1929). Woolf became one of the central subjects of the 1970s movement of feminist criticism and her works have since attracted much attention and widespread commentary for "inspiring feminism". Her works have been translated into more than 50 languages. A large body of literature is dedicated to her life and work, and she has been the subject of plays, novels and films. Woolf is commemorated today by statues, societies dedicated to her work and a building at the University of London. Throughout her life, Woolf was troubled by mental illness. She was institutionalised several times and attempted suicide at least twice. According to Dalsimer (2004) her illness was characterized by symptoms that today would be diagnosed as bipolar disorder, for which there was no effective intervention during her lifetime. In 1941, at age 59, Woolf died by drowning herself in the River Ouse at Lewes. Life Family of origin Virginia Woolf was born Adeline Virginia Stephen on 25 January 1882 at 22 Hyde Park Gate in South Kensington, London, to Julia (née Jackson) (1846–1895) and Leslie Stephen (1832–1904), writer, historian, essayist, biographer and mountaineer. Julia Jackson was born in 1846 in Calcutta, British India, to John Jackson and Maria "Mia" Theodosia Pattle, from two Anglo-Indian families. John Jackson FRCS was the third son of George Jackson and Mary Howard of Bengal, a physician who spent 25 years with the Bengal Medical Service and East India Company and a professor at the fledgling Calcutta Medical College. While John Jackson was an almost invisible presence, the Pattle family were famous beauties, and moved in the upper circles of Bengali society. The seven Pattle sisters married into important families. Julia Margaret Cameron was a celebrated photographer, while Virginia married Earl Somers, and their daughter, Julia Jackson's cousin, was Lady Henry Somerset, the temperance leader. Julia moved to England with her mother at the age of two and spent much of her early life with another of her mother's sisters, Sarah Monckton Pattle. Sarah and her husband Henry Thoby Prinsep, conducted an artistic and literary salon at Little Holland House where she came into contact with a number of Pre-Raphaelite painters such as Edward Burne-Jones, for whom she modelled. Julia was the youngest of three sisters, and Adeline Virginia was named after her mother's eldest sister Adeline Maria Jackson (1837–1881) and her mother's aunt Virginia Pattle (see Pattle family tree). Because of the tragedy of her aunt Adeline's death the previous year, the family never used Virginia's first name. The Jacksons were a well educated, literary and artistic proconsular middle-class family. In 1867, Julia Jackson married Herbert Duckworth, a barrister, but within three years was left a widow with three infant children. She was devastated and entered a prolonged period of mourning, abandoning her faith and turning to nursing and philanthropy. Julia and Herbert Duckworth had three children: George (5 March 1868 – 27 April 1934), a senior civil servant, married Lady Margaret Herbert in 1904 Stella (30 May 1869 – 19 July 1897), died aged 28 Gerald (29 October 1870 – 28 September 1937), founder of Duckworth Publishing, married Cecil Alice Scott-Chad in 1921 Leslie Stephen was born in 1832 in South Kensington to Sir James and Lady Jane Catherine Stephen (née Venn), daughter of John Venn, rector of Clapham. The Venns were the centre of the evangelical Clapham Sect. Sir James Stephen was the under secretary at the Colonial Office, and with another Clapham member, William Wilberforce, was responsible for the passage of the Slavery Abolition Bill in 1833. In 1849 he was appointed Regius Professor of Modern History at Cambridge University. As a family of educators, lawyers, and writers the Stephens represented the elite intellectual aristocracy. While his family were distinguished and intellectual, they were less colourful and aristocratic than Julia Jackson's. A graduate and fellow of Cambridge University he renounced his faith and position to move to London where he became a notable man of letters. In addition, he was a rambler and mountaineer, described as a "gaunt figure with the ragged red brown beard...a formidable man, with an immensely high forehead, steely-blue eyes, and a long pointed nose." In the same year as Julia Jackson's marriage, he wed Harriet Marian (Minny) Thackeray (1840–1875), youngest daughter of William Makepeace Thackeray, who bore him a daughter, Laura (1870–1945), but died in childbirth in 1875. Laura was developmentally disabled and eventually institutionalised. The widowed Julia Duckworth knew Leslie Stephen through her friendship with Minny's elder sister Anne (Anny) Isabella Ritchie and had developed an interest in his agnostic writings. She was present the night Minny died and later, tended to Leslie Stephen and helped him move next door to her on Hyde Park Gate so Laura could have some companionship with her own children. Both were preoccupied with mourning and although they developed a close friendship and intense correspondence, agreed it would go no further. Leslie Stephen proposed to her in 1877, an offer she declined, but when Anny married later that year she accepted him and they were married on 26 March 1878. He and Laura then moved next door into Julia's house, where they lived till his death in 1904. Julia was 32 and Leslie was 46. Their first child, Vanessa, was born on 30 May 1879. Julia, having presented her husband with a child and now having five children to care for, decided to limit her family's growth. However, despite the fact that the couple took "precautions", "contraception was a very imperfect art in the nineteenth century": it resulted in the birth of three more children over the next four years. 22 Hyde Park Gate (1882–1904) 1882–1895 Virginia Woolf provides insight into her early life in her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921), and A Sketch of the Past (1940). Other essays that provide insight into this period include Leslie Stephen (1932). She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure of her mother becomes more nuanced and filled in. In February 1891, with her sister Vanessa, Woolf began the Hyde Park Gate News, chronicling life and events within the Stephen family, and modelled on the popular magazine Tit-Bits. Initially, this was mainly Vanessa's and Thoby's articles, but very soon Virginia became the main contributor, with Vanessa as editor. Their mother's response when it first appeared was "Rather clever I think". Virginia would run the Hyde Park Gate News until 1895, the time of her mother's death. The following year the Stephen sisters also used photography to supplement their insights, as did Stella Duckworth. Vanessa Bell's 1892 portrait of her sister and parents in the Library at Talland House (see image) was one of the family's favourites and was written about lovingly in Leslie Stephen's memoir. In 1897 ("the first really lived year of my life)" Virginia began her first diary, which she kept for the next twelve years, and a notebook in 1909. Virginia was, as she describes it, "born into a large connection, born not of rich parents, but of well-to-do parents, born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world." It was a well-connected family consisting of six children, with two half brothers and a half sister (the Duckworths, from her mother's first marriage), another half sister, Laura (from her father's first marriage), and an older sister, Vanessa, and brother Thoby. The following year, another brother Adrian followed. The disabled Laura Stephen lived with the family until she was institutionalised in 1891. Julia and Leslie had four children together: Vanessa "Nessa" (30 May 1879 – 1961), married Clive Bell in 1907 Thoby (9 September 1880 – 1906), founded Bloomsbury Group Virginia "Jinny"/"Ginia" (25 January 1882 – 1941), married Leonard Woolf in 1912 Adrian (27 October 1883 – 1948), married Karin Costelloe in 1914 Virginia was born at 22 Hyde Park Gate and lived there until her father's death in 1904. Number 22 Hyde Park Gate, South Kensington, lay at the south-east end of Hyde Park Gate, a narrow cul-de-sac running south from Kensington Road, just west of the Royal Albert Hall, and opposite Kensington Gardens and Hyde Park, where the family regularly took their walks (see Map; Street plan). Built in 1846 by Henry Payne of Hammersmith as one of a row of single-family townhouses for the upper middle class, it soon became too small for their expanding family. At the time of their marriage, it consisted of a basement, two storeys, and an attic. In July 1886 Leslie Stephen obtained the services of J. W. Penfold, an architect, to add additional living space above and behind the existing structure. The substantial renovations added a new top floor (see image of red brick extension), with three bedrooms and a study for himself, converted the original attic into rooms, and added the first bathroom. It was a tall but narrow townhouse, that at that time had no running water. Virginia would later describe it as "a very tall house on the left-hand side near the bottom which begins by being stucco and ends by being red brick; which is so high and yet—as I can say now that we have sold it—so rickety that it seems as if a very high wind would topple it over." The servants worked "downstairs" in the basement. The ground floor had a drawing room, separated by a curtain from the servant's pantry and a library. Above this on the first floor were Julia and Leslie's bedrooms. On the next floor were the Duckworth children's rooms, and above them, the day and night nurseries of the Stephen children occupied two further floors. Finally, in the attic, under the eaves, were the servants' bedrooms, accessed by a back staircase. Life at 22 Hyde Park Gate was also divided symbolically; as Virginia put it, "The division in our lives was curious. Downstairs there was pure convention: upstairs pure intellect. But there was no connection between them", the worlds typified by George Duckworth and Leslie Stephen. Their mother, it seems, was the only one who could span this divide. The house was described as dimly lit and crowded with furniture and paintings. Within it, the younger Stephens formed a close-knit group. Despite this, the children still held their grievances. Virginia envied Adrian for being their mother's favourite. Virginia and Vanessa's status as creatives (writing and art respectively) caused a rivalry between them at times. Life in London differed sharply from their summers in Cornwall, their outdoor activities consisting mainly of walks in nearby Kensington Gardens, where they would play hide-and-seek and sail their boats on the Round Pond, while indoors, it revolved around their lessons. Leslie Stephen's eminence as an editor, critic, and biographer, and his connection to William Thackeray, meant his children were raised in an environment filled with the influences of a Victorian literary society. Henry James, George Henry Lewes, Alfred Lord Tennyson, Thomas Hardy, Edward Burne-Jones, and Virginia's honorary godfather, James Russell Lowell, were among the visitors to the house. Julia Stephen was equally well connected. Her aunt was a pioneering early photographer, Julia Margaret Cameron, who was also a visitor to the Stephen household. The two Stephen sisters, Vanessa and Virginia, were almost three years apart in age. Virginia christened her older sister "the saint" and was far more inclined to exhibit her cleverness than her more reserved sister. Virginia resented the domesticity Victorian tradition forced on them far more than her sister. They also competed for Thoby's affections. Virginia would later confess her ambivalence over this rivalry to Duncan Grant in 1917: "indeed one of the concealed worms of my life has been a sister's jealousy – of a sister I mean; and to feed this I have invented such a myth about her that I scarce know one from t'other." Virginia showed an early affinity for writing. Although both parents disapproved of formal education for females, writing was considered a respectable profession for women, and her father encouraged her in this respect. Later, she would describe this as "ever since I was a little creature, scribbling a story in the manner of Hawthorne on the green plush sofa in the drawing room at St. Ives while the grown-ups dined". By the age of five, she was writing letters and could tell her father a story every night. Later, she, Vanessa, and Adrian would develop the tradition of inventing a serial about their next-door neighbours, every night in the nursery, or in the case of St. Ives, of spirits that resided in the garden. It was her fascination with books that formed the strongest bond between her and her father. For her tenth birthday, she received an ink-stand, a blotter, drawing book and a box of writing implements. Talland House (1882–1894) Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen family leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882–1894) at St Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed, "My Julia was of course, though with all due reserve, a bit of a matchmaker." Amongst their guests in 1893 were the Brookes, whose children, including Rupert Brooke, played with the Stephen children. Rupert and his group of Cambridge Neo-pagans would come to play an important role in their lives in the years before the First World War. While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than at their mother's Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children, it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden … The sound of the sea at night … almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). 1895–1904 Julia Stephen fell ill with influenza in February 1895, and never properly recovered, dying on 5 May, when Virginia was 13. It was a pivotal moment in her life and the beginning of her struggles with mental illness. Essentially, her life had fallen apart. The Duckworths were travelling abroad at the time of their mother's death, and Stella returned immediately to take charge and assume her role. That summer, rather than return to the memories of St Ives, the Stephens went to Freshwater, Isle of Wight, where some of their mother's relatives lived. It was there that Virginia had the first of her many nervous breakdowns, and Vanessa was forced to assume some of her mother's role in caring for Virginia's mental state. Stella became engaged to Jack Hills the following year and they were married on 10 April 1897, making Virginia even more dependent on her older sister. George Duckworth also assumed some of their mother's role, taking upon himself the task of bringing them out into society. First Vanessa, then Virginia, in both cases an equal disaster, for it was not a rite of passage that resonated with either girl and attracted a scathing critique by Virginia regarding the conventional expectations of young upper-class women: "Society in those days was a perfectly competent, perfectly complacent, ruthless machine. A girl had no chance against its fangs. No other desires – say to paint, or to write – could be taken seriously". Rather her priorities were to escape from the Victorian conventionality of the downstairs drawing room to a "room of one's own" to pursue her writing aspirations. She would revisit this criticism in her depiction of Mrs. Ramsay stating the duties of a Victorian mother in To the Lighthouse "an unmarried woman has missed the best of life". The death of Stella Duckworth on 19 July 1897, after a long illness, was a further blow to Virginia's sense of self, and the family dynamics. Woolf described the period following the death of both her mother and Stella as "1897–1904 – the seven unhappy years", referring to "the lash of a random unheeding flail that pointlessly and brutally killed the two people who should, normally and naturally, have made those years, not perhaps happy but normal and natural". In April 1902, their father became ill, and although he underwent surgery later that year he never fully recovered, dying on 22 February 1904. Virginia's father's death precipitated a further breakdown. Later, Virginia would describe this time as one in which she was dealt successive blows as a "broken chrysalis" with wings still creased. Chrysalis occurs many times in Woolf's writing but the "broken chrysalis" was an image that became a metaphor for those exploring the relationship between Woolf and grief. At his death, Leslie Stephen's net worth was £15,715 6s. 6d. (probate 23 March 1904) Education In the late 19th century, education was sharply divided along gender lines, a tradition that Virginia would note and condemn in her writing. Boys were sent to school, and in upper-middle-class families such as the Stephens, it involved private boys schools, often boarding schools, and university. Girls, if they were afforded the luxury of education, received it from their parents, governesses, and tutors. Virginia was educated by her parents who shared the duty. There was a small classroom off the back of the drawing room, with its many windows, which they found perfect for quiet writing and painting. Julia taught the children Latin, French, and history, while Leslie taught them mathematics. They also received piano lessons. Supplementing their lessons was the children's unrestricted access to Leslie Stephen's vast library, exposing them to much of the literary canon, resulting in a greater depth of reading than any of their Cambridge contemporaries, Virginia's reading being described as "greedy". Later, she would recall After public school, the boys in the family all attended Cambridge University. The girls derived some indirect benefit from this, as the boys introduced them to their friends. Another source was the conversation of their father's friends, to whom they were exposed. Leslie Stephen described his circle as "most of the literary people of mark...clever young writers and barristers, chiefly of the radical persuasion...we used to meet on Wednesday and Sunday evenings, to smoke and drink and discuss the universe and the reform movement". Later, between the ages of 15 and 19, Virginia was able to pursue higher education. She took courses of study, some at degree level, in beginning and advanced Ancient Greek, intermediate Latin and German, together with continental and English history at the Ladies' Department of King's College London at nearby 13 Kensington Square between 1897 and 1901. She studied Greek under the eminent scholar George Charles Winter Warr, professor of Classical Literature at King's. In addition she had private tutoring in German, Greek, and Latin. One of her Greek tutors was Clara Pater (1899–1900), who taught at King's. Another was Janet Case, who involved her in the women's rights movement, and whose obituary Virginia would later write in 1937. Her experiences led to her 1925 essay "On Not Knowing Greek". Her time at King's also brought her into contact with some of the early reformers of women's higher education such as the principal of the Ladies' Department, Lilian Faithfull (one of the so-called steamboat ladies), in addition to Pater. Her sister Vanessa also enrolled at the Ladies' Department (1899–1901). Although the Stephen girls could not attend Cambridge, they were to be profoundly influenced by their brothers' experiences there. When Thoby went to Trinity in 1899, he befriended a circle of young men, including Clive Bell, Lytton Strachey, Leonard Woolf (whom Virginia would later marry), and Saxon Sydney-Turner, whom he would soon introduce to his sisters at the Trinity May Ball in 1900. These men formed a reading group they named the Midnight Society. Relationships with family Although Virginia expressed the opinion her father was her favourite parent, and although she had only turned thirteen when her mother died, she was profoundly influenced by her mother throughout her life. It was Virginia who famously stated that "for we think back through our mothers if we are women", and invoked the image of her mother repeatedly throughout her life in her diaries, her letters and a number of her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921) and A Sketch of the Past (1940), frequently evoking her memories with the words "I see her ...". She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), the artist, Lily Briscoe, attempts to paint Mrs. Ramsay, a complex character based on Julia Stephen, and repeatedly comments on the fact that she was "astonishingly beautiful". Her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure becomes more nuanced and complete. While her father painted Julia Stephen's work in terms of reverence, Woolf drew a sharp distinction between her mother's work and "the mischievous philanthropy which other women practise so complacently and often with such disastrous results." She describes her degree of sympathy, engagement, judgement, and decisiveness, and her sense of both irony and the absurd. She recalls trying to recapture "the clear round voice, or the sight of the beautiful figure, so upright and distinct, in its long shabby cloak, with the head held at a certain angle, so that the eye looked straight out at you." Julia Stephen dealt with her husband's depressions and his need for attention, which created resentment in her children, boosted his self-confidence, nursed her parents in their final illness, and had many commitments outside the home that would eventually wear her down. Her frequent absences and the demands of her husband instilled a sense of insecurity in her children that had a lasting effect on her daughters. In considering the demands on her mother, Woolf described her father as "fifteen years her elder, difficult, exacting, dependent on her," and reflected that it was at the expense of the amount of attention she could spare her young children: "a general presence rather than a particular person to a child." She reflected that she rarely ever spent a moment alone with her mother: "someone was always interrupting." Woolf was ambivalent about it, yet eager to separate herself from this model of utter selflessness. In To the Lighthouse, she describes it as "boasting of her capacity to surround and protect, there was scarcely a shell of herself left for her to know herself by; all was so lavished and spent." At the same time, she admired the strengths of her mother's womanly ideals. Given Julia's frequent absences and commitments, the young Stephen children became increasingly dependent on Stella Duckworth, who emulated her mother's selflessness; as Woolf wrote, "Stella was always the beautiful attendant handmaid ... making it the central duty of her life." Julia Stephen greatly admired her husband's intellect. As Woolf observed "she never belittled her own works, thinking them, if properly discharged, of equal, though other, importance with her husband's." She believed with certainty in her role as the centre of her activities, and the person who held everything together, with a firm sense of what was important and valuing devotion. Of the two parents, Julia's "nervous energy dominated the family". While Virginia identified most closely with her father, Vanessa stated her mother was her favourite parent. Angelica Garnett recalls how Virginia asked Vanessa which parent she preferred, although Vanessa considered it a question that "one ought not to ask", she was unequivocal in answering "Mother" yet the centrality of her mother to Virginia's world is expressed in this description of her "Certainly there she was, in the very centre of that great Cathedral space which was childhood; there she was from the very first". Virginia observed that her half-sister, Stella, the oldest daughter, led a life of total subservience to her mother, incorporating her ideals of love and service. Virginia quickly learned, that like her father, being ill was the only reliable way of gaining the attention of her mother, who prided herself on her sickroom nursing. Another issue the children had to deal with was Leslie Stephen's temper, Woolf describing him as "the tyrant father". Eventually, she became deeply ambivalent about him. He had given her his ring on her eighteenth birthday and she had a deep emotional attachment as his literary heir, writing about her "great devotion for him". Yet, like Vanessa, she also saw him as victimiser and tyrant. She had a lasting ambivalence towards him through her life, albeit one that evolved. Her adolescent image was of an "Eminent Victorian" and tyrant but as she grew older she began to realise how much of him was in her: "I have been dipping into old letters and father's memoirs....so candid and reasonable and transparent—and had such a fastidious delicate mind, educated, and transparent," she wrote 22 December 1940. She was in turn both fascinated and condemnatory of Leslie Stephen: "She [her mother] has haunted me: but then, so did that old wretch my father. . . . I was more like him than her, I think; and therefore more critical: but he was an adorable man, and somehow, tremendous." Sexual abuse Woolf stated that she first remembers being molested by Gerald Duckworth when she was six years old. It has been suggested that this led to a lifetime of sexual fear and resistance to masculine authority. Against a background of over-committed and distant parents, suggestions that this was a dysfunctional family must be evaluated. These include evidence of sexual abuse of the Stephen girls by their older Duckworth half-brothers, and by their cousin, James Kenneth Stephen (1859–1892), at least of Stella Duckworth. Laura is also thought to have been abused. The most graphic account is by Louise DeSalvo, but other authors and reviewers have been more cautious. Virginia's accounts of being continually sexually abused during the time that she lived at 22 Hyde Park Gate, have been cited by some critics as a possible cause of her mental health issues, although there are likely to be a number of contributing factors. Lee states that, "The evidence is strong enough, and yet ambiguous enough, to open the way for conflicting psychobiographical interpretations that draw quite different shapes of Virginia Woolf's interior life". Bloomsbury (1904–1940) Gordon Square (1904–1907) On their father's death, the Stephens' first instinct was to escape from the dark house of yet more mourning, and this they did immediately, accompanied by George, travelling to Manorbier, on the coast of Pembrokeshire on 27 February. There, they spent a month, and it was there that Virginia first came to realise her destiny was as a writer, as she recalls in her diary of 3 September 1922. They then further pursued their newfound freedom by spending April in Italy and France, where they met up with Clive Bell again. Virginia then suffered her second nervous breakdown, and first suicidal attempt on 10 May, and convalesced over the next three months. Before their father died, the Stephens had discussed the need to leave South Kensington in the West End, with its tragic memories and their parents' relations. George Duckworth was 35, his brother Gerald 33. The Stephen children were now between 24 and 20. Virginia was 22. Vanessa and Adrian decided to sell 22 Hyde Park Gate in respectable South Kensington and move to Bloomsbury. Bohemian Bloomsbury, with its characteristic leafy squares seemed sufficiently far away, geographically and socially, and was a much cheaper neighbourhood rentwise. They had not inherited much and they were unsure about their finances. Also, Bloomsbury was close to the Slade School which Vanessa was then attending. While Gerald was quite happy to move on and find himself a bachelor establishment, George who had always assumed the role of quasi-parent decided to accompany them, much to their dismay. It was then that Lady Margaret Herbert appeared on the scene, George proposed, was accepted and married in September, leaving the Stephens to their own devices. Vanessa found a house at 46 Gordon Square in Bloomsbury, and they moved in November, to be joined by Virginia now sufficiently recovered. It was at Gordon Square that the Stephens began to regularly entertain Thoby's intellectual friends in March 1905. The circle, which largely came from the Cambridge Apostles, included writers (Saxon Sydney-Turner, Lytton Strachey) and critics (Clive Bell, Desmond MacCarthy) with Thursday evening "At Homes" that became known as the Thursday Club, a vision of recreating Trinity College ("Cambridge in London"). This circle formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Later, it would include John Maynard Keynes (1907), Duncan Grant (1908), E.M. Forster (1910), Roger Fry (1910), Leonard Woolf (1911), and David Garnett (1914). In 1905, Virginia and Adrian visited Portugal and Spain. Clive Bell proposed to Vanessa, but was declined, while Virginia began teaching evening classes at Morley College and Vanessa added another event to their calendar with the Friday Club, dedicated to the discussion of and later exhibition of the fine arts. This introduced some new people into their circle, including Vanessa's friends from the Royal Academy and Slade, such as Henry Lamb and Gwen Darwin (who became secretary), but also the eighteen-year-old Katherine Laird ("Ka") Cox (1887–1938), who was about to go up to Newnham. Although Virginia did not actually meet Ka until much later, Ka would come to play an important part in her life. Ka and others brought the Bloomsbury Group into contact with another, slightly younger, group of Cambridge intellectuals to whom the Stephen sisters gave the name "Neo-pagans". The Friday Club continued until 1913. The following year, 1906, Virginia suffered two further losses. Her cherished brother Thoby, who was only 26, died of typhoid, following a trip they had all taken to Greece, and immediately afterward Vanessa accepted Clive's third proposal. Vanessa and Clive were married in February 1907 and as a couple, their interest in avant-garde art would have an important influence on Woolf's further development as an author. With Vanessa's marriage, Virginia and Adrian needed to find a new home. Fitzroy Square (1907–1911) Virginia moved into 29 Fitzroy Square in April 1907, a house on the west side of the street, formerly occupied by George Bernard Shaw. It was in Fitzrovia, immediately to the west of Bloomsbury but still relatively close to her sister at Gordon Square. The two sisters continued to travel together, visiting Paris in March. Adrian was now to play a much larger part in Virginia's life, and they resumed the Thursday Club in October at their new home, while Gordon Square became the venue for the Play Reading Society in December. During this period, the group began to increasingly explore progressive ideas, first in speech, and then in conduct, Vanessa proclaiming in 1910 a libertarian society with sexual freedom for all. Meanwhile, Virginia began work on her first novel, Melymbrosia, that eventually became The Voyage Out (1915). Vanessa's first child, Julian was born in February 1908, and in September Virginia accompanied the Bells to Italy and France. It was during this time that Virginia's rivalry with her sister resurfaced, flirting with Clive, which he reciprocated, and which lasted on and off from 1908 to 1914, by which time her sister's marriage was breaking down. On 17 February 1909, Lytton Strachey proposed to Virginia and she accepted, but he then withdrew the offer. It was while she was at Fitzroy Square that the question arose of Virginia needing a quiet country retreat, and she required a six-week rest cure and sought the countryside away from London as much as possible. In December, she and Adrian stayed at Lewes and started exploring the area of Sussex around the town. She started to want a place of her own, like St Ives, but closer to London. She soon found a property in nearby Firle (see below), maintaining a relationship with that area for the rest of her life. Dreadnought hoax 1910 Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008). Brunswick Square (1911–1912) In October 1911, the lease on Fitzroy Square was running out and Virginia and Adrian decided to give up their home on Fitzroy Square in favour of a different living arrangement, moving to a four-storied house at 38 Brunswick Square in Bloomsbury proper in November. Virginia saw it as a new opportunity: "We are going to try all kinds of experiments," she told Ottoline Morrell. Adrian occupied the second floor, with Maynard Keynes and Duncan Grant sharing the ground floor. This arrangement for a single woman was considered scandalous, and George Duckworth was horrified. The house was adjacent to the Foundling Hospital, much to Virginia's amusement as an unchaperoned single woman. Originally, Ka Cox was supposed to share in the arrangements, but opposition came from Rupert Brooke, who was involved with her and pressured her to abandon the idea. At the house, Duncan Grant decorated Adrian Stephen's rooms (see image). Marriage (1912–1941) Leonard Woolf was one of Thoby Stephen's friends at Trinity College, Cambridge, and noticed the Stephen sisters in Thoby's rooms there on their visits to the May Ball in 1900 and 1901. He recalls them in "white dresses and large hats, with parasols in their hands, their beauty literally took one's breath away". To him, they were silent, "formidable and alarming". Woolf did not meet Virginia formally till 17 November 1904 when he dined with the Stephens at Gordon Square, to say goodbye before leaving to take up a position with the civil service in Ceylon, although she was aware of him through Thoby's stories. At that visit he noted that she was perfectly silent throughout the meal, and looked ill. In 1909, Lytton Strachey suggested to Woolf he should make her an offer of marriage. He did so, but received no answer. In June 1911, he returned to London on a one-year leave, but did not go back to Ceylon. In England again, Leonard renewed his contacts with family and friends. Three weeks after arriving he dined with Vanessa and Clive Bell at Gordon Square on 3 July, where they were later joined by Virginia and other members of what would later be called "Bloomsbury", and Leonard dates the group's formation to that night. In September, Virginia asked Leonard to join her at Little Talland House at Firle in Sussex for a long weekend. After that weekend, they began seeing each other more frequently. On 4 December 1911, Leonard moved into the ménage on Brunswick Square, occupying a bedroom and sitting room on the fourth floor, and started to see Virginia constantly and by the end of the month had decided he was in love with her. On 11 January 1912, he proposed to her; she asked for time to consider, so he asked for an extension of his leave and, on being refused, offered his resignation on 25 April, effective 20 May. He continued to pursue Virginia, and in a letter of 1 May 1912 (which see) she explained why she did not favour a marriage. However, on 29 May, Virginia told Leonard that she wished to marry him, and they were married on 10 August at the St Pancras Register Office. It was during this time that Leonard first became aware of Virginia's precarious mental state. The Woolfs continued to live at Brunswick Square until October 1912, when they moved to a small flat at 13 Clifford's Inn, further to the east (subsequently demolished). Despite his low material status (Woolf referring to Leonard during their engagement as a "penniless Jew"), the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making—after 25 years can't bear to be separate ... you see it is enormous pleasure being wanted: a wife. And our marriage so complete." However, Virginia made a suicide attempt in 1913. In October 1914, Leonard and Virginia Woolf moved away from Bloomsbury and central London to Richmond, living at 17 The Green, a home discussed by Leonard in his autobiography Beginning Again (1964). In early March 1915, the couple moved again, to nearby Hogarth House, Paradise Road, after which they named their publishing house. Virginia's first novel, The Voyage Out was published in 1915, followed by another suicide attempt. Despite the introduction of conscription in 1916, Leonard was exempted on medical grounds. Between 1924 and 1940, the Woolfs returned to Bloomsbury, taking out a ten-year lease at 52 Tavistock Square, from where they ran the Hogarth Press from the basement, where Virginia also had her writing room, and is commemorated with a bust of her in the square (see illustration). 1925 saw the publication of Mrs Dalloway in May followed by her collapse while at Charleston in August. In 1927, her next novel, To the Lighthouse, was published, and the following year she lectured on Women & Fiction at Cambridge University and published Orlando in October. Her two Cambridge lectures then became the basis for her major essay A Room of One's Own in 1929. Virginia wrote only one drama, Freshwater, based on her great-aunt Julia Margaret Cameron, and produced at her sister's studio on Fitzroy Street in 1935. 1936 saw another collapse of her health following the completion of The Years. The Woolf's final residence in London was at 37 Mecklenburgh Square (1939–1940), destroyed during the Blitz in September 1940; a month later their previous home on Tavistock Square was also destroyed. After that, they made Sussex their permanent home. For descriptions and illustrations of all Virginia Woolf's London homes, see Jean Moorcroft Wilson's book Virginia Woolf, Life and London: A Biography of Place (pub. Cecil Woolf, 1987). Hogarth Press (1917–1938) Virginia had taken up book-binding as a pastime in October 1901, at the age of 19, and the Woolfs had been discussing setting up a publishing house for some time, and at the end of 1916 started making plans. Having discovered that they were not eligible to enroll in the St Bride School of Printing, they started purchasing supplies after seeking advice from the Excelsior Printing Supply Company on Farringdon Road in March 1917, and soon they had a printing press set up on their dining room table at Hogarth House, and the Hogarth Press was born. Their first publication was Two Stories in July 1917, inscribed Publication No. 1, and consisted of two short stories, "The Mark on the Wall" by Virginia Woolf and Three Jews by Leonard Woolf. The work consisted of 32 pages, hand bound and sewn, and illustrated by woodcuts designed by Dora Carrington. The illustrations were a success, leading Virginia to remark that the press was "specially good at printing pictures, and we see that we must make a practice of always having pictures." (13 July 1917) The process took two and a half months with a production run of 150 copies. Other short short stories followed, including Kew Gardens (1919) with a woodblock by Vanessa Bell as frontispiece. Subsequently, Bell added further illustrations, adorning each page of the text. The press subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others. The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell. Woolf believed that to break free of a patriarchal society women writers needed a "room of their own" to develop and often fantasised about an "Outsider's Society" where women writers would create a virtual private space for themselves via their writings to develop a feminist critique of society. Though Woolf never created the "Outsider's society", the Hogarth Press was the closest approximation as the Woolfs chose to publish books by writers that took unconventional points of view to form a reading community. Initially the press concentrated on small experimental publications, of little interest to large commercial publishers. Until 1930, Woolf often helped her husband print the Hogarth books as the money for employees was not there. Virginia relinquished her interest in 1938, following a third attempted suicide. After it was bombed in September 1940, the press was moved to Letchworth for the remainder of the war. Both the Woolfs were internationalists and pacifists who believed that promoting understanding between peoples was the best way to avoid another world war and chose quite consciously to publish works by foreign authors of whom the British reading public were unaware. The first non-British author to be published was the Soviet writer Maxim Gorky, the book Reminiscences of Leo Nikolaiovich Tolstoy in 1920, dealing with his friendship with Count Leo Tolstoy. Memoir Club (1920–1941) 1920 saw a postwar reconstitution of the Bloomsbury Group, under the title of the Memoir Club, which as the name suggests focussed on self-writing, in the manner of Proust's A La Recherche, and inspired some of the more influential books of the 20th century. The Group, which had been scattered by the war, was reconvened by Mary ('Molly') MacCarthy who called them "Bloomsberries", and operated under rules derived from the Cambridge Apostles, an elite university debating society that a number of them had been members of. These rules emphasised candour and openness. Among the 125 memoirs presented, Virginia contributed three that were published posthumously in 1976, in the autobiographical anthology Moments of Being. These were 22 Hyde Park Gate (1921), Old Bloomsbury (1922) and Am I a Snob? (1936). Vita Sackville-West (1922–1941) The ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and on 14 December 1922 Woolf met the writer and gardener Vita Sackville-West, wife of Harold Nicolson, while dining with Clive Bell. Writing in her diary the next day, she referred to meeting "the lovely gifted aristocratic Sackville West". At the time, Sackville-West was the more successful writer as both poet and novelist, commercially and critically, and it was not until after Woolf's death that she became considered the better writer. After a tentative start, they began a sexual relationship, which, according to Sackville-West in a letter to her husband on 17 August 1926, was only twice consummated. The relationship reached its peak between 1925 and 1928, evolving into more of a friendship through the 1930s, though Woolf was also inclined to brag of her affairs with other women within her intimate circle, such as Sibyl Colefax and Comtesse de Polignac. This period of intimacy was to prove fruitful for both authors, Woolf producing three novels, To the Lighthouse (1927), Orlando (1928), and The Waves (1931) as well as a number of essays, including "Mr. Bennett and Mrs. Brown" (1924) and "A Letter to a Young Poet" (1932). Sackville-West worked tirelessly to lift Woolf's self-esteem, encouraging her not to view herself as a quasi-reclusive inclined to sickness who should hide herself away from the world, but rather offered praise for her liveliness and wit, her health, her intelligence and achievements as a writer. Sackville-West led Woolf to reappraise herself, developing a more positive self-image, and the feeling that her writings were the products of her strengths rather than her weakness. Starting at the age of 15, Woolf had believed the diagnosis by her father and his doctor that reading and writing were deleterious to her nervous condition, requiring a regime of physical labour such as gardening to prevent a total nervous collapse. This led Woolf to spend much time obsessively engaging in such physical labour. Sackville-West was the first to argue to Woolf she had been misdiagnosed, and that it was far better to engage in reading and writing to calm her nerves—advice that was taken. Under the influence of Sackville-West, Woolf learned to deal with her nervous ailments by switching between various forms of intellectual activities such as reading, writing and book reviews, instead of spending her time in physical activities that sapped her strength and worsened her nerves. Sackville-West chose the financially struggling Hogarth Press as her publisher to assist the Woolfs financially. Seducers in Ecuador, the first of the novels by Sackville-West published by Hogarth, was not a success, selling only 1500 copies in its first year, but the next Sackville-West novel they published, The Edwardians, was a best-seller that sold 30,000 copies in its first six months. Sackville-West's novels, though not typical of the Hogarth Press, saved Hogarth, taking them from the red into the black. However, Woolf was not always appreciative of the fact that it was Sackville-West's books that kept the Hogarth Press profitable, writing dismissively in 1933 of her "servant girl" novels. The financial security allowed by the good sales of Sackville-West's novels in turn allowed Woolf to engage in more experimental work, such as The Waves, as Woolf had to be cautious when she depended upon Hogarth entirely for her income. In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both sexes. It was published in October, shortly after the two women spent a week travelling together in France, that September. Nigel Nicolson, Vita Sackville-West's son, wrote, "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her." After their affair ended, the two women remained friends until Woolf's death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of typhoid fever at the age of 26. Sussex (1911–1941) Virginia was needing a country retreat to escape to, and on 24 December 1910, she found a house for rent in Firle, Sussex, near Lewes (see Map). She obtained a lease and took possession of the house the following month, naming it 'Little Talland House', after their childhood home in Cornwall, although it was actually a new red gabled villa on the main street opposite the village hall. The lease was a short one, and in October, she and Leonard Woolf found Asham House at Asheham a few miles to the west, while walking along the Ouse from Firle. The house, at the end of a tree-lined road was a strange beautiful Regency-Gothic house in a lonely location. She described it as "flat, pale, serene, yellow-washed", without electricity or water and allegedly haunted. She took out a five-year lease jointly with Vanessa in the New Year, and they moved into it in February 1912, holding a house warming party on the 9th. It was at Asham that the Woolfs spent their wedding night later that year. At Asham, she recorded the events of the weekends and holidays they spent there in her Asham Diary, part of which was later published as A Writer's Diary in 1953. In terms of creative writing, The Voyage Out was completed there, and much of Night and Day. Asham provided Woolf with well needed relief from the pace of London life and was where she found a happiness that she expressed in her diary of 5 May 1919 "Oh, but how happy we've been at Asheham! It was a most melodious time. Everything went so freely; – but I can't analyse all the sources of my joy". Asham was also the inspiration for A Haunted House (1921–1944), and was painted by members of the Bloomsbury Group, including Vanessa Bell and Roger Fry. It was during these times at Asham that Ka Cox (seen here) started to devote herself to Virginia and become very useful. While at Asham Leonard and Virginia found a farmhouse in 1916, that was to let, about four miles away, which they thought would be ideal for her sister. Eventually, Vanessa came down to inspect it, and moved in in October of that year, taking it as a summer home for her family. The Charleston Farmhouse was to become the summer gathering place for the literary and artistic circle of the Bloomsbury Group. After the end of the war, in 1918, the Woolfs were given a year's notice by the landlord, who needed the house. In mid-1919, "in despair", they purchased "a very strange little house" for £300, the Round House in Pipe Passage, Lewes, a converted windmill. No sooner had they bought the Round House, than Monk's House in nearby Rodmell, came up for auction, a weatherboarded house with oak beamed rooms, said to be 15th or 16th century. The Leonards favoured the latter because of its orchard and garden, and sold the Round House, to purchase Monk's House for £700. Monk's House also lacked water and electricity, but came with an acre of garden, and had a view across the Ouse towards the hills of the South Downs. Leonard Woolf describes this view (and the amenities) as being unchanged since the days of Chaucer. From 1940, it became their permanent home after their London home was bombed, and Virginia continued to live there until her death. Meanwhile, Vanessa made Charleston her permanent home in 1936. It was at Monk's House that Virginia completed Between the Acts in early 1941, followed by a further breakdown directly resulting in her suicide on 28 March 1941, the novel being published posthumously later that year. The Neo-pagans (1911–1912) During her time in Firle, Virginia became better acquainted with Rupert Brooke and his group of Neo-Pagans, pursuing socialism, vegetarianism, exercising outdoors and alternative life styles, including social nudity. They were influenced by the ethos of Bedales, Fabianism and Shelley. The women wore sandals, socks, open neck shirts and head-scarves. Although she had some reservations, Woolf was involved with their activities for a while, fascinated by their bucolic innocence in contrast to the sceptical intellectualism of Bloomsbury, which earned her the nickname "The Goat" from her brother Adrian. While Woolf liked to make much of a weekend she spent with Brooke at the vicarage in Grantchester, including swimming in the pool there, it appears to have been principally a literary assignation. They also shared a psychiatrist in the name of Maurice Craig. Through the Neo-Pagans, she finally met Ka Cox on a weekend in Oxford in January 1911, who had been part of the Friday Club circle and now became her friend and played an important part in dealing with her illnesses. Virginia nicknamed her "Bruin". At the same time, she found herself dragged into a triangular relationship involving Ka, Jacques Raverat and Gwen Darwin. She became resentful of the other couple, Jacques and Gwen, who married later in 1911, not the outcome Virginia had predicted or desired. They would later be referred to in both To the Lighthouse and The Years. The exclusion she felt evoked memories of both Stella Duckworth's marriage and her triangular involvement with Vanessa and Clive. The two groups eventually fell out. Brooke pressured Ka into withdrawing from joining Virginia's ménage on Brunswick Square in late 1911, calling it a "bawdy-house" and by the end of 1912 he had vehemently turned against Bloomsbury. Later, she would write sardonically about Brooke, whose premature death resulted in his idealisation, and express regret about "the Neo-Paganism at that stage of my life". Virginia was deeply disappointed when Ka married William Edward Arnold-Forster in 1918, and became increasingly critical of her. Mental health Much examination has been made of Woolf's mental health (e.g., see Mental health bibliography). From the age of 13, following the death of her mother, Woolf suffered periodic mood swings from severe depression to manic excitement, including psychotic episodes, which the family referred to as her "madness". However, as Hermione Lee points out, Woolf was not "mad"; she was merely a woman who suffered from and struggled with illness for much of her relatively short life, a woman of "exceptional courage, intelligence and stoicism", who made the best use, and achieved the best understanding she could of that illness. Psychiatrists today contend that her illness constitutes bipolar disorder (manic-depressive illness). Her mother's death in 1895, "the greatest disaster that could happen", precipitated a crisis of alternating excitability and depression accompanied by irrational fears, for which their family doctor, Dr. Seton, prescribed rest, stopping lessons and writing, and regular walks supervised by Stella. Yet just two years later, Stella too was dead, bringing on her next crisis in 1897, and her first expressed wish for death at the age of fifteen, writing in her diary that October that "death would be shorter & less painful". She then stopped keeping a diary for some time. This was a scenario she would later recreate in "Time Passes" (To the Lighthouse, 1927). The death of her father in 1904 provoked her most alarming collapse, on 10 May, when she threw herself out a window and she was briefly institutionalised under the care of her father's friend, the eminent psychiatrist George Savage. Savage blamed her education—frowned on by many at the time as unsuitable for women—for her illness. She spent time recovering at the house of Stella's friend Violet Dickinson, and at her aunt Caroline's house in Cambridge, and by January 1905, Dr. Savage considered her "cured". Violet, seventeen years older than Virginia, became one of her closest friends and one of her more effective nurses. She characterised it as a "romantic friendship" (Letter to Violet 4 May 1903). Her brother Thoby's death in 1906 marked a "decade of deaths” that ended her childhood and adolescence. Gordon (2004) writes: "Ghostly voices spoke to her with increasing urgency, perhaps more real than the people who lived by her side. When voices of the dead urged her to impossible things, they drove her mad but, controlled, they became the material of fiction..." On Dr. Savage's recommendation, Virginia spent three short periods in 1910, 1912, and 1913 at Burley House at 15 Cambridge Park, Twickenham (see image), described as "a private nursing home for women with nervous disorder" run by Miss Jean Thomas. By the end of February 1910, she was becoming increasingly restless, and Dr. Savage suggested being away from London. Vanessa rented Moat House, outside Canterbury, in June, but there was no improvement, so Dr. Savage sent her to Burley for a "rest cure". This involved partial isolation, deprivation of literature, and force-feeding, and after six weeks she was able to convalesce in Cornwall and Dorset during the autumn. She loathed the experience; writing to her sister on 28 July, she described how she found the phony religious atmosphere stifling and the institution ugly, and informed Vanessa that to escape "I shall soon have to jump out of a window." The threat of being sent back would later lead to her contemplating suicide. Despite her protests, Savage would refer her back in 1912 for insomnia and in 1913 for depression. On emerging from Burley House in September 1913, she sought further opinions from two other physicians on the 13th: Maurice Wright, and Henry Head, who had been Henry James's physician. Both recommended she return to Burley House. Distraught, she returned home and attempted suicide by taking an overdose of 100 grains of veronal (a barbiturate) and nearly dying: she was found by Ka Cox, who summoned help. On recovery, she went to Dalingridge Hall, George Duckworth's home in East Grinstead, Sussex, to convalesce on 30 September, accompanied by Ka Cox and a nurse, returning to Asham on 18 November with Cox and Janet Case. She remained unstable over the next two years, with another incident involving veronal that she claimed was an "accident", and consulted another psychiatrist in April 1914, Maurice Craig, who explained that she was not sufficiently psychotic to be certified or committed to an institution. The rest of the summer of 1914 went better for her, and they moved to Richmond, but in February 1915, just as The Voyage Out was due to be published, she relapsed once more, and remained in poor health for most of that year. Then, despite Miss Thomas's gloomy prognosis, she began to recover, following 20 years of ill health. Nevertheless, there was a feeling among those around her that she was now permanently changed, and not for the better. Over the rest of her life, she suffered recurrent bouts of depression. In 1940, a number of factors appeared to overwhelm her. Her biography of Roger Fry had been published in July, and she had been disappointed in its reception. The horrors of war depressed her, and their London homes had been destroyed in the Blitz in September and October. Woolf had completed Between the Acts (published posthumously in 1941) in November, and completing a novel was frequently accompanied by exhaustion. Her health became increasingly a matter of concern, culminating in her decision to end her life on 28 March 1941. Though this instability would frequently affect her social life, she was able to continue her literary productivity with few interruptions throughout her life. Woolf herself provides not only a vivid picture of her symptoms in her diaries and letters, but also her response to the demons that haunted her and at times made her long for death: "But it is always a question whether I wish to avoid these glooms... These 9 weeks give one a plunge into deep waters... One goes down into the well & nothing protects one from the assault of truth." Psychiatry had little to offer Woolf, but she recognised that writing was one of the behaviours that enabled her to cope with her illness: "The only way I keep afloat... is by working... Directly I stop working I feel that I am sinking down, down. And as usual, I feel that if I sink further I shall reach the truth." Sinking under water was Woolf's metaphor for both the effects of depression and psychosis— but also for finding truth, and ultimately was her choice of death. Throughout her life, Woolf struggled, without success, to find meaning in her illness: on the one hand, an impediment, on the other, something she visualised as an essential part of who she was, and a necessary condition of her art. Her experiences informed her work, such as the character of Septimus Warren Smith in Mrs Dalloway (1925), who, like Woolf, was haunted by the dead, and ultimately takes his own life rather than be admitted to a sanitorium. Leonard Woolf relates how during the 30 years they were married, they consulted many doctors in the Harley Street area, and although they were given a diagnosis of neurasthenia, he felt they had little understanding of the causes or nature. The proposed solution was simple—as long as she lived a quiet life without any physical or mental exertion, she was well. On the other hand, any mental, emotional, or physical strain resulted in a reappearance of her symptoms, beginning with a headache, followed by insomnia and thoughts that started to race. Her remedy was simple: to retire to bed in a darkened room, eat, and drink plenty of milk, following which the symptoms slowly subsided. Modern scholars, including her nephew and biographer, Quentin Bell, have suggested her breakdowns and subsequent recurring depressive periods were influenced by the sexual abuse which she and her sister Vanessa were subjected to by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays "A Sketch of the Past" and "22 Hyde Park Gate") (see Sexual abuse). Biographers point out that when Stella died in 1897, there was no counterbalance to control George's predation, and his nighttime prowling. Virginia describes him as her first lover, "The old ladies of Kensington and Belgravia never knew that George Duckworth was not only father and mother, brother and sister to those poor Stephen girls; he was their lover also." It is likely that other factors also played a part. It has been suggested that they include genetic predisposition, for both trauma and family history have been implicated in bipolar disorder. Virginia's father, Leslie Stephen, suffered from depression, and her half-sister Laura was institutionalised. Many of Virginia's symptoms, including persistent headache, insomnia, irritability, and anxiety, resembled of her father's. Another factor is the pressure she placed upon herself in her work; for instance, her breakdown of 1913 was at least partly triggered by the need to finish The Voyage Out. Virginia herself hinted that her illness was related to how she saw the repressed position of women in society, when she wrote in A Room of One's Own that had Shakespeare had a sister of equal genius, she "would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at". These inspirations emerged from what Woolf referred to as her lava of madness, describing her time at Burley in a 1930 letter to Ethel Smyth: Thomas Caramagno and others, in discussing her illness, oppose the "neurotic-genius" way of looking at mental illness, where creativity and mental illness are conceptualised as linked rather than antithetical. Stephen Trombley describes Woolf as having a confrontational relationship with her doctors, and possibly being a woman who is a "victim of male medicine", referring to the lack of understanding, particularly at the time, about mental illness. Death After completing the manuscript of her last novel (posthumously published), Between the Acts (1941), Woolf fell into a depression similar to one which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work. When Leonard enlisted in the Home Guard, Virginia disapproved. She held fast to her pacifism and criticised her husband for wearing what she considered to be "the silly uniform of the Home Guard". After World War II began, Woolf's diary indicates that she was obsessed with death, which figured more and more as her mood darkened. On 28 March 1941, Woolf drowned herself by filling her overcoat pockets with stones and walking into the River Ouse near her home. Her body was not found until 18 April. Her husband buried her cremated remains beneath an elm tree in the garden of Monk's House, their home in Rodmell, Sussex. In her suicide note, addressed to her husband, she wrote: Work Woolf is considered to be one of the more important 20th century novelists. A modernist, she was one of the pioneers of using stream of consciousness as a narrative device, alongside contemporaries such as Marcel Proust, Dorothy Richardson and James Joyce. Woolf's reputation was at its greatest during the 1930s, but declined considerably following World War II. The growth of feminist criticism in the 1970s helped re-establish her reputation. Virginia submitted her first article in 1890, to a competition in Tit-Bits. Although it was rejected, this shipboard romance by the 8-year-old would presage her first novel 25 years later, as would contributions to the Hyde Park News, such as the model letter "to show young people the right way to express what is in their hearts", a subtle commentary on her mother's legendary matchmaking. She transitioned from juvenilia to professional journalism in 1904 at the age of 22. Violet Dickinson introduced her to Mrs. Lyttelton, the editor of the Women's Supplement of The Guardian, a Church of England newspaper. Invited to submit a 1,500-word article, Virginia sent Lyttelton a review of W.D. Howells' The Son of Royal Langbirth and an essay about her visit to Haworth that year, Haworth, November 1904. The review was published anonymously on 4 December, and the essay on the 21st. In 1905, Woolf began writing for The Times Literary Supplement. Woolf would go on to publish novels and essays as a public intellectual to both critical and popular acclaim. Much of her work was self-published through the Hogarth Press. "Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: she is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions." "The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings"—often wartime environments—"of most of her novels." Fiction and drama Novels Her first novel, The Voyage Out, was published in 1915 at the age of 33, by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally titled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life. The novel is set on a ship bound for South America, and a group of young Edwardians onboard and their various mismatched yearnings and misunderstandings. In the novel are hints of themes that would emerge in later work, including the gap between preceding thought and the spoken word that follows, and the lack of concordance between expression and underlying intention, together with how these reveal to us aspects of the nature of love. "Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars". "To the Lighthouse (1927) is set on two days ten years apart. The plot centres on the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind." It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them. Orlando: A Biography (1928) is one of Virginia Woolf's lightest novels. A parodic biography of a young nobleman who lives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf's lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, Knole House, though it is also a satirical treatment of Vita and her work. In Orlando, the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed for it to be mocked. "The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centred novel". Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog's point of view. Woolf was inspired to write this book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by the actress Katharine Cornell. The Years (1936), traces the history of the genteel Pargiter family from the 1880s to the "present day" of the mid-1930s. The novel had its origin in a lecture Woolf gave to the National Society for Women's Service in 1931, an edited version of which would later be published as "Professions for Women". Woolf first thought of making this lecture the basis of a new book-length essay on women, this time taking a broader view of their economic and social life, rather than focusing on women as artists, as the first book had. She soon jettisoned the theoretical framework of her "novel-essay" and began to rework the book solely as a fictional narrative, but some of the non-fiction material she first intended for this book was later used in Three Guineas (1938). "Her last work, Between the Acts (1941), sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history." This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse. While Woolf's work can be understood as consistently in dialogue with the Bloomsbury Group, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals. Themes Woolf's fiction has been studied for its insight into many themes including war, shell shock, witchcraft, and the role of social class in contemporary modern British society. In the postwar Mrs Dalloway (1925), Woolf addresses the moral dilemma of war and its effects and provides an authentic voice for soldiers returning from World War I, suffering from shell shock, in the person of Septimus Smith. In A Room of One's Own (1929) Woolf equates historical accusations of witchcraft with creativity and genius among women "When, however, one reads of a witch being ducked, of a woman possessed by devils...then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen". Throughout her work Woolf tried to evaluate the degree to which her privileged background framed the lens through which she viewed class. She both examined her own position as someone who would be considered an elitist snob, but attacked the class structure of Britain as she found it. In her 1936 essay Am I a Snob?, she examined her values and those of the privileged circle she existed in. She concluded she was, and subsequent critics and supporters have tried to deal with the dilemma of being both elite and a social critic. The sea is a recurring motif in Woolf's work. Noting Woolf's early memory of listening to waves break in Cornwall, Katharine Smyth writes in The Paris Review that "the radiance [of] cresting water would be consecrated again and again in her writing, saturating not only essays, diaries, and letters but also Jacob’s Room, The Waves, and To the Lighthouse." Patrizia A. Muscogiuri explains that "seascapes, sailing, diving and the sea itself are aspects of nature and of human beings’ relationship with it which frequently inspired Virginia Woolf's writing." This trope is deeply embedded in her texts’ structure and grammar; James Antoniou notes in Sydney Morning Herald how "Woolf made a virtue of the semicolon, the shape and function of which resembles the wave, her most famous motif." Despite the considerable conceptual difficulties, given Woolf's idiosyncratic use of language, her works have been translated into over 50 languages. Some writers, such as the Belgian Marguerite Yourcenar, had rather tense encounters with her, while others, such as the Argentinian Jorge Luis Borges, produced versions that were highly controversial. Drama Virginia Woolf researched the life of her great-aunt, the photographer Julia Margaret Cameron, publishing her findings in an essay titled "Pattledom" (1925), and later in her introduction to her 1926 edition of Cameron's photographs. She had begun work on a play based on an episode in Cameron's life in 1923, but abandoned it. Finally it was performed on 18 January 1935 at the studio of her sister, Vanessa Bell on Fitzroy Street in 1935. Woolf directed it herself, and the cast were mainly members of the Bloomsbury Group, including herself. Freshwater is a short three act comedy satirising the Victorian era, only performed once in Woolf's lifetime. Beneath the comedic elements, there is an exploration of both generational change and artistic freedom. Both Cameron and Woolf fought against the class and gender dynamics of Victorianism and the play shows links to both To the Lighthouse and A Room of One's Own that would follow. Non-fiction Woolf wrote a body of autobiographical work and more than 500 essays and reviews, some of which, like A Room of One's Own (1929) were of book length. Not all were published in her lifetime. Shortly after her death, Leonard Woolf produced an edited edition of unpublished essays titled The Moment and other Essays, published by the Hogarth Press in 1947. Many of these were originally lectures that she gave, and several more volumes of essays followed, such as The Captain's Death Bed: and other essays (1950). A Room of One's Own Among Woolf's non-fiction works, one of the best known is A Room of One's Own (1929), a book-length essay. Considered a key work of feminist literary criticism, it was written following two lectures she delivered on "Women and Fiction" at Cambridge University the previous year. In it, she examines the historical disempowerment women have faced in many spheres, including social, educational and financial. One of her more famous dicta is contained within the book "A woman must have money and a room of her own if she is to write fiction". Much of her argument ("to show you how I arrived at this opinion about the room and the money") is developed through the "unsolved problems" of women and fiction writing to arrive at her conclusion, although she claimed that was only "an opinion upon one minor point". In doing so, she states a good deal about the nature of women and fiction, employing a quasi-fictional style as she examines where women writers failed because of lack of resources and opportunities, examining along the way the experiences of the Brontës, George Eliot and George Sand, as well as the fictional character of Shakespeare's sister, equipped with the same genius but not position. She contrasted these women who accepted a deferential status with Jane Austen, who wrote entirely as a woman. Influences Michel Lackey argues that a major influence on Woolf, from 1912 onward, was Russian literature and Woolf adopted many of its aesthetic conventions. The style of Fyodor Dostoyevsky with his depiction of a fluid mind in operation helped to influence Woolf's writings about a "discontinuous writing process", though Woolf objected to Dostoyevsky's obsession with "psychological extremity" and the "tumultuous flux of emotions" in his characters together with his right-wing, monarchist politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire. In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy. Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings. From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within. Lackey notes that, from Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overarching vision, which required a "total passion" for art. The American writer Henry David Thoreau also influenced Woolf. In a 1917 essay, she praised Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive." They both aimed to capture 'the moment'––as Walter Pater says, "to burn always with this hard, gem-like flame." Woolf praised Thoreau for his "simplicity" in finding "a way for setting free the delicate and complicated machinery of the soul". Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world. Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them. Woolf and Thoreau were both concerned with the difficulty of human relationships in the modern age. Other notable influences include William Shakespeare, George Eliot, Leo Tolstoy, Marcel Proust, Anton Chekhov, Emily Brontë, Daniel Defoe, James Joyce, and E.M. Forster. List of selected publications see , , Novels see also The Voyage Out & Complete text see also Night and Day & Complete text see also Jacob's Room & Complete text see also Mrs Dalloway & Complete text see also To the Lighthouse & Complete text, also Texts at Woolf Online see also Orlando: A Biography & Complete text see also The Waves & Complete text see also Between the Acts & Complete text Short stories see also A Haunted House and Other Short Stories & Complete text see also The Mark on the Wall & Complete text see also Kew Gardens & Complete text Cross-genre see also Flush: A Biography & Complete text Drama see also Freshwater Biography see also Roger Fry: A Biography & Complete text Essays see also A Room of One's Own & Complete text see also Mr. Bennett and Mrs. Brown & Complete text see also A Letter to a Young Poet & Complete text see also Three Guineas & Complete text Essay collections (Review) (Review) Complete text (Review) First American edition published by Harcourt, Brace and Company, New York, 1950. & also here — (1934). "Walter Sickert: A Conversation". Contributions (Digital edition) Autobiographical writing (Review) (see Moments of Being) , in (excerpts) , in (excerpts – 1st ed.) Memoir Club Contributions Diaries and notebooks Letters (Review) Photograph albums List of Album Guides Album 1 MS Thr 557 (1863–1938) Album 2 MS Thr 559 (1909–1922) Album 3 MS Thr 560 (1890–1933) Album 4 MS Thr 561 (1890–1947) Album 5 MS Thr 562 (1892–1938) Album 6 MS Thr 563 (1850–1900) Collections Views In her lifetime, Woolf was outspoken on many topics that were considered controversial, some of which are now considered progressive, others regressive. She was an ardent feminist at a time when women's rights were barely recognised, and anti-colonialist, anti-imperialist and a pacifist when chauvinism was popular. On the other hand, she has been criticised for views on class and race in her private writings and published works. Like many of her contemporaries, some of her writing is now considered offensive. As a result, she is considered polarising, a revolutionary feminist and socialist hero or a purveyor of hate speech. Works such as A Room of One's Own (1929) and Three Guineas (1938) are frequently taught as icons of feminist literature in courses that would be very critical of some of her views expressed elsewhere. She has also been the recipient of considerable homophobic and misogynist criticism. Humanist views Virginia Woolf was born into a non-religious family and is regarded, along with her fellow Bloomsberries E.M. Forster and G.E. Moore, as a humanist. Both her parents were prominent agnostic atheists. Her father, Leslie Stephen, had become famous in polite society for his writings which expressed and publicised reasons to doubt the veracity of religion. Stephen was also President of the West London Ethical Society, an early humanist organisation, and helped to found the Union of Ethical Societies in 1896. Woolf's mother, Julia Stephen, wrote the book Agnostic Women (1880), which argued that agnosticism (defined here as something more like atheism) could be a highly moral approach to life. Woolf was a critic of Christianity. In a letter to Ethel Smyth, she gave a scathing denunciation of the religion, seeing it as self-righteous "egotism" and stating "my Jew [Leonard] has more religion in one toenail—more human love, in one hair". Woolf stated in her private letters that she thought of herself as an atheist. Controversies Hermione Lee cites a number of extracts from Woolf's writings that many, including Lee, would consider offensive, and these criticisms can be traced back as far as those of Wyndham Lewis and Q.D. Leavis in the 1920s and 1930s. Other authors provide more nuanced contextual interpretations, and stress the complexity of her character and the apparent inherent contradictions in analysing her apparent flaws. She could certainly be off-hand, rude and even cruel in her dealings with other authors, translators and biographers, such as her treatment of Ruth Gruber. Some authors, particularly postcolonial feminists dismiss her (and modernist authors in general) as privileged, elitist, classist, racist, and antisemitic. Woolf's tendentious expressions, including prejudicial feelings against disabled people, have often been the topic of academic criticism: The first quotation is from a diary entry of September 1920 and runs: "The fact is the lower classes are detestable." The remainder follow the first in reproducing stereotypes standard to upper-class and upper-middle class life in the early 20th century: "imbeciles should certainly be killed"; "Jews" are greasy; a "crowd" is both an ontological "mass" and is, again, "detestable"; "Germans" are akin to vermin; some "baboon faced intellectuals" mix with "sad green dressed negroes and negresses, looking like chimpanzees" at a peace conference; Kensington High St. revolts one's stomach with its innumerable "women of incredible mediocrity, drab as dishwater". Antisemitism Though accused of antisemitism, the treatment of Judaism and Jews by Woolf is far from straightforward. She was happily married to a Jewish man (Leonard Woolf) but often wrote about Jewish characters using stereotypes and generalisations. For instance, she described some of the Jewish characters in her work in terms that suggested they were physically repulsive or dirty. On the other hand, she could criticise her own views: "How I hated marrying a Jew — how I hated their nasal voices and their oriental jewellery, and their noses and their wattles — what a snob I was: for they have immense vitality, and I think I like that quality best of all" (Letter to Ethel Smyth 1930). These attitudes have been construed to reflect, not so much antisemitism, but tribalism; she married outside her social grouping, and Leonard Woolf, too, expressed misgivings about marrying a gentile. Leonard, "a penniless Jew from Putney", lacked the material status of the Stephens and their circle. While travelling on a cruise to Portugal, she protested at finding "a great many Portuguese Jews on board, and other repulsive objects, but we keep clear of them". Furthermore, she wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." Her 1938 short story The Duchess and the Jeweller (originally titled The Duchess and the Jew) has been considered antisemitic. Yet Woolf and her husband Leonard came to despise and fear the 1930s fascism and antisemitism. Her 1938 book Three Guineas was an indictment of fascism and what Woolf described as a recurring propensity among patriarchal societies to enforce repressive societal mores by violence. Sexuality The Bloomsbury Group held very progressive views regarding sexuality and shucked the austere strictness of Victorian society. The majority of its members were homosexual or bisexual. Virginia was most likely a lesbian, some debate that she was bisexual. However she had several affairs with women, the most notable being with Vita Sackville-West which inspired Orlando: A Biography. The two of them remained lovers for a decade and stayed close friends for the rest of Virginia's life. Virginia had said to Vita she disliked masculinity Among her other notable affairs were Sibyl Colefax, Lady Ottoline Morrell and Mary Hutchinson. Some surmise that she may have fallen in love with Madge Symonds, the wife of one of her uncles. Madge Symonds was described as one of Virginia's early loves in Vita's diary She also fell in love with Violet Dickinson although there is some confusion as to whether the two consummated their relationship. In regards to relationships with men, Virginia was averse to sex with them, blaming the sexual abuse perpetrated upon her and her sister by her half-brothers when they were children and teens. This is one of the reasons she initially declined marriage proposals from her future husband, Leonard. She even went as far as to tell him that she was not attracted to him, but that she did love him and finally agreed to marriage. Virginia preferred female lovers to male lovers, for the most part, based on her aversion to sex with men. This aversion to relations with men influenced her writing especially when considering her sexual abuse as a child. Leonard became the love of her life and even though their sexual relationship was questionable, they loved each other deeply and formed a strong, supportive and prolific marriage which led to the formation of their publishing house as well as several of her writings. Neither was faithful to the other sexually, but they were faithful in their love and respect for each other. Modern scholarship and interpretations Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell. Hermione Lee's 1996 biography Virginia Woolf provides a thorough and authoritative examination of Woolf's life and work, which she discussed in an interview in 1997. In 2001, Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life (2005) focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. The sociologist Pierre Bourdieu also uses Woolf's literature to understand and analyse gender domination. Woolf biographer Gillian Gill notes that Woolf's traumatic experience of sexual abuse by her half-brothers during her childhood influenced her advocacy of protection of vulnerable children from similar experiences. Virginia Woolf and her mother The intense scrutiny of Virginia Woolf's literary output (see Bibliography) has led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter. Woolf states that, "my first memory, and in fact it is the most important of all my memories" is of her mother. Her memories of her mother are memories of an obsession, starting with her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect. In many ways, her mother's profound influence on Virginia Woolf is conveyed in the latter's recollections, "there she is; beautiful, emphatic ... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children". Woolf described her mother as an "invisible presence" in her life, and Ellen Rosenman argues that the mother-daughter relationship is a constant in Woolf's writing. She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death. Julia's influence and memory pervades Woolf's life and work. "She has haunted me", she wrote. Historical feminism According to the 2007 book Feminism: From Mary Wollstonecraft to Betty Friedan by Bhaskar A. Shukla, "Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer." In 1928, Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge and the Arts Society at Newnham College with two papers that eventually became A Room of One's Own (1929). Woolf's best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society. In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield— have explored "the given". In popular culture Who's Afraid of Virginia Woolf? is a 1962 play by Edward Albee. It examines the structure of the marriage of an American middle-aged academic couple, Martha and George. Mike Nichols directed a film version in 1966, starring Elizabeth Taylor and Richard Burton. Taylor won the 1966 Academy Award for Best Actress for the role. Me! I'm Afraid of Virginia Woolf, a 1978 TV play, references the title of the Edward Albee play and features an English literature teacher who has a poster of her. It was written by Alan Bennett and directed by Stephen Frears. The artwork The Dinner Party (1979) features a place setting for Woolf. The 1996 album Poetic Justice, by British musician Steve Harley, contains a tribute to Woolf, specifically her most adventurous novel, in its closing track: "Riding the Waves (for Virginia Woolf)". Michael Cunningham's 1998 Pulitzer Prize-winning novel The Hours focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released, starring Nicole Kidman as Woolf. Kidman won the 2003 Academy Award for her portrayal. Susan Sellers's novel Vanessa and Virginia (2008) explores the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre Company. Priya Parmar's 2014 novel Vanessa and Her Sister also examined the Stephen sisters' relationship during the early years of their association with what became known as the Bloomsbury Group. An exhibition on Virginia Woolf was held at the National Portrait Gallery from July to October 2014. In the 2014 novel The House at the End of Hope Street, Woolf is featured as one of the women who has lived in the titular house. Virginia is portrayed by both Lydia Leonard and Catherine McCormack in the BBC's three-part drama series Life in Squares (2015). On 25 January 2018, Google showed a Google doodle celebrating her 136th birthday. In many Barnes & Noble stores, Woolf is featured in Gary Kelly's Author Mural Panels, an imprint of the Barnes & Noble Author brand that also features other notable authors like Hurston, Tagore, and Kafka. The 2018 film Vita and Virginia depicts the relationship between Vita Sackville-West and Woolf, portrayed by Gemma Arterton and Elizabeth Debicki respectively. The 2020 novel Trio by William Boyd follows the life of Elfrida Wing, an alcoholic writer interested in the suicide of Woolf. Adaptations A number of Virginia Woolf's works have been adapted for the screen, and her play Freshwater (1935) is the basis for a 1994 chamber opera, Freshwater, by Andy Vores. The final segment of the 2018 London Unplugged is adapted from her short story Kew Gardens. Septimus and Clarissa, a stage adaptation of Mrs. Dalloway was created and produced by the New York-based ensemble Ripe Time in 2011 at the Baruch Performing Arts Center. It was adapted by Ellen McLaughlin, and directed and devised by Rachel Dickstein. It was nominated for a 2012 Drama League award for Outstanding Production, a Drama Desk nomination for Outstanding Score (Gina Leishman) and a Joe A. Calloway Award nomination for outstanding direction (Rachel Dickstein.) Legacy Virginia Woolf is known for her contributions to 20th-century literature and her essays, as well as the influence she has had on literary, particularly feminist criticism. A number of authors have stated that their work was influenced by her, including Margaret Atwood, Michael Cunningham, Gabriel García Márquez, and Toni Morrison. Her iconic image is instantly recognisable from the Beresford portrait of her at twenty (at the top of this page) to the Beck and Macgregor portrait in her mother's dress in Vogue at 44 (see image) or Man Ray's cover of Time magazine (see image) at 55. More postcards of Woolf are sold by the National Portrait Gallery, London than any other person. Her image is ubiquitous, and can be found on products ranging from tea towels to T-shirts. Virginia Woolf is studied around the world, with organisations such as the Virginia Woolf Society, and The Virginia Woolf Society of Japan. In addition, trusts—such as the Asham Trust—encourage writers in her honour. Although she had no descendants, a number of her extended family are notable. Monuments and memorials In 2013, Woolf was honoured by her alma mater of King's College London with the opening of the Virginia Woolf Building on Kingsway, with a plaque commemorating her time there and her contributions (see image), together with this exhibit depicting her accompanied by a quotation "London itself perpetually attracts, stimulates, gives me a play & a story & a poem" from her 1926 diary. Busts of Virginia Woolf have been erected at her home in Rodmell, Sussex and at Tavistock Square, London where she lived between 1924 and 1939. In 2014, she was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighbourhood noting LGBTQ people who have "made significant contributions in their fields". Woolf Works, a women's co-working space in Singapore, opened in 2014 and was named after her in tribute to the essay A Room of One's Own; it also has many other things named after it (see the essay's article). A campaign was launched in 2018 by Aurora Metro Arts and Media to erect a statue of Woolf in Richmond, where she lived for 10 years. The proposed statue shows her reclining on a bench overlooking the river Thames. Family trees see , , , \| Notes References Bibliography Books and theses see also The Second Sex see also Survey of London (Review) Biography: Virginia Woolf Vol. I: Virginia Stephen 1882 to 1912. London: Hogarth Press. 1972. Vol. II: Virginia Woolf 1912 to 1941. London: Hogarth Press. 1972. (Review) (Review) (Review) (additional excerpts) (Review) (excerpt - Chapter 1) (Review) (Review) (Review) (Illustrations of Woolf's London homes are excerpted at .) Mental health additional excerpts (summary) see also Touched with Fire Biography: Other (Review) (Review) (Review) (Review) (Review) (Review) also Internet archive also available through MOMA here Literary commentary (additional excerpts) (Review) additional excerpt (Review) (Review) (Review) Bloomsbury (additional excerpts) (Review) Chapters and contributions , in , in , in , in , in , in , in , in , in , in , in , in , in , in , in , in Articles Journals (text also available here) Dictionaries and encyclopaedias Newspapers and magazines archived version archived version with excerpt Websites and documents (includes invitation to first performance in 1935 and Lucio Ruotolo's introduction to the 1976 Hogarth Press edition) Blogs British Library Literary commentary British Library Virginia Woolf's homes and venues , in , in Virginia Woolf biography Timelines , in , in , in } , in Genealogy , in Images , in , in , in Maps , in Audiovisual media see also Life in Squares excerpt Selected online texts Audiofiles Archival material Bibliography notes Bibliography references External links Virginia Woolf Papers at the Mortimer Rare Book Collection, Smith College Special Collections 1882 births 1941 suicides 19th-century English women 19th-century English people 19th-century English writers 20th-century British short story writers 20th-century English women writers 20th-century English novelists 20th-century essayists 20th-century non-fiction writers Alumni of King's College London Bisexual women Bisexual writers Bloomsbury Group Bloomsbury Group biographers British anti-fascists British atheists British autobiographers British diarists British essayists British humanists British memoirists British pacifists British secularists British socialists British cultural critics British women dramatists and playwrights British women essayists British women short story writers Critics of Christianity Critics of Judaism Critics of new religious movements Critics of religions English anti-fascists English atheists English autobiographers English diarists English essayists English humanists English memoirists English pacifists English socialists English women dramatists and playwrights English women novelists LGBT memoirists LGBT writers from England Mental health activists Modernist women writers Modernist writers People from Kensington People with bipolar disorder British social commentators Social critics Stephen-Bell family Suicides by drowning in England Women diarists British women memoirists Writers about activism and social change Writers from London 20th-century memoirists Dreadnought hoax English feminist writers Atheist feminists People from Firle British feminists English feminists Lost Generation writers Pipe smokers	true	[ "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)", "Robert Waller (born September 1955) is a British election expert, author, teacher, and former opinion pollster. His best known published work is The Almanac of British Politics (8 editions, 1983–2007), a guide to the voting patterns of all United Kingdom parliamentary constituencies.\n\nEducation and career\n\nWaller was born in Stoke-on-Trent, and educated first at Buxton College in Derbyshire, and then at the University of Oxford. In 1977, he earned a BA in History from Balliol College, and in 1981, graduated from Merton College with an MA and D.Phil. in History. His doctoral thesis, a historical study of the Dukeries district of Nottinghamshire, was published by Oxford University Press in 1983 under the title The Dukeries Transformed. He was a Fellow of Magdalen College from 1980 to 1984.\n\nFrom 1984 to 1986 Waller was a lecturer and tutor in Politics and History at the University of Oxford, as well as an assistant professor at the University of Notre Dame. In 1986, he became the research director of the Harris Research Centre, responsible for national opinion polling. He remained in this position until 1998, when he took up secondary school teaching. He has since taught at Brighton College, Dame Alice Harpur School in Bedford, and Haileybury in Hertford. In 2001 he was made head of History and Politics at the Greenacre School for Girls in Banstead, Surrey. In 2017 he moved to teach at Dunottar School, Reigate.\n\nFrom 2008 until the 2010 general election, Waller contributed a monthly column to Total Politics magazine.\n\nBibliography\n\nThe Dukeries Transformed. 1983. Oxford University Press. .\nThe Almanac of British Politics.\nApril 1983 (Croom Helm) \nOctober 1983 (Croom Helm) \n1987 (Croom Helm) \n1991 (Routledge) \n1995 (Routledge) \n1999 (Routledge) \n2002 (Routledge) \n2007 (Routledge) \n The Atlas of British Politics (1985). Croom Helm. .\nMoulding Political Opinion (with Ken Livingstone and Sir Geoffrey Finsberg 1988). Croom Helm. .\nWhat if the SDP-Liberal Alliance had finished second in the 1983 general election in Duncan Brack and Iain Dale (eds) Prime Minister Portillo and other things that never happened. (2003, paperback 2004). Politico's Publishing. \nWhat if the 1903 Gladstone – MacDonald Pact had never happened in Duncan Brack (ed) President Gore ... and other things that never happened (2006). Politico's Publishing. \nWhat if proportional representation had been introduced in 1918 in Duncan Brack and Iain Dale eds. Prime Minister Boris .. and other things that never happened (2011). Biteback Publishing. \n2015 General Election (with Iain Dale, Greg Callus and Daniel Hamilton) (2014). Biteback Publishing. .\nThe Politico's Guide to the New House of Commons 2015 (with Tim Carr and Iain Dale 2015). Biteback Publishing. .\nWhat if Lyndon Johnson had been shot down in 1942 in Duncan Brack and Iain Dale eds. Prime Minister Corbyn ... and other things that never happened (2016). Biteback Publishing. \nThe Politico's Guide to the New House of Commons 2017 (with Tim Carr and Iain Dale 2017). Biteback Publishing. .\nRamsay MacDonald in Iain Dale ed. The Prime Ministers (2020). Hodder & Stoughton. \nWhat if Franklin D.Roosevelt had died of polio in 1921 in Duncan Brack and Iain Dale eds. Prime Minister Priti ... and other things that never happened (2021). Biteback Publishing. \nRutherford Hayes in Iain Dale ed. The Presidents (2021). Hodder & Stoughton.\n\nReferences\n\nExternal links \n Full text of doctoral thesis, \"The social and political development of a new coalfield\" via Oxford Research Archive\n\nAlumni of Balliol College, Oxford\n1955 births\nLiving people\nPeople educated at Buxton College\nPollsters" ]
[ "Virginia Woolf", "Talland House (1882-1894)", "what is talland house?", "a large white house in St. Ives, Cornwall,", "what happened at this house?", "it was the highlight of the year, and Virginia's most vivid childhood memories" ]	C_8596d9535fe94e95907f37d55beb6a03_1	did anything tragic happen?	3	did anything tragic happen at talland house?	Virginia Woolf	Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER	CANNOTANSWER	Adeline Virginia Woolf (; ; 25 January 1882 28 March 1941) was an English writer, considered one of the most important modernist 20th-century authors and a pioneer in the use of stream of consciousness as a narrative device. Woolf was born into an affluent household in South Kensington, London, the seventh child of Julia Prinsep Jackson and Leslie Stephen in a blended family of eight which included the modernist painter Vanessa Bell. She was home-schooled in English classics and Victorian literature from a young age. From 1897 to 1901, she attended the Ladies' Department of King's College London, where she studied classics and history and came into contact with early reformers of women's higher education and the women's rights movement. Encouraged by her father, Woolf began writing professionally in 1900. After her father's death in 1904, the Stephen family moved from Kensington to the more bohemian Bloomsbury, where, in conjunction with the brothers' intellectual friends, they formed the artistic and literary Bloomsbury Group. In 1912, she married Leonard Woolf, and in 1917, the couple founded the Hogarth Press, which published much of her work. They rented a home in Sussex and moved there permanently in 1940. Woolf had romantic relationships with women, including Vita Sackville-West, who also published her books through Hogarth Press. Both women's literature became inspired by their relationship, which lasted until Woolf's death. During the inter-war period, Woolf was an important part of London's literary and artistic society. In 1915, she had published her first novel, The Voyage Out, through her half-brother's publishing house, Gerald Duckworth and Company. Her best-known works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928). She is also known for her essays, including A Room of One's Own (1929). Woolf became one of the central subjects of the 1970s movement of feminist criticism and her works have since attracted much attention and widespread commentary for "inspiring feminism". Her works have been translated into more than 50 languages. A large body of literature is dedicated to her life and work, and she has been the subject of plays, novels and films. Woolf is commemorated today by statues, societies dedicated to her work and a building at the University of London. Throughout her life, Woolf was troubled by mental illness. She was institutionalised several times and attempted suicide at least twice. According to Dalsimer (2004) her illness was characterized by symptoms that today would be diagnosed as bipolar disorder, for which there was no effective intervention during her lifetime. In 1941, at age 59, Woolf died by drowning herself in the River Ouse at Lewes. Life Family of origin Virginia Woolf was born Adeline Virginia Stephen on 25 January 1882 at 22 Hyde Park Gate in South Kensington, London, to Julia (née Jackson) (1846–1895) and Leslie Stephen (1832–1904), writer, historian, essayist, biographer and mountaineer. Julia Jackson was born in 1846 in Calcutta, British India, to John Jackson and Maria "Mia" Theodosia Pattle, from two Anglo-Indian families. John Jackson FRCS was the third son of George Jackson and Mary Howard of Bengal, a physician who spent 25 years with the Bengal Medical Service and East India Company and a professor at the fledgling Calcutta Medical College. While John Jackson was an almost invisible presence, the Pattle family were famous beauties, and moved in the upper circles of Bengali society. The seven Pattle sisters married into important families. Julia Margaret Cameron was a celebrated photographer, while Virginia married Earl Somers, and their daughter, Julia Jackson's cousin, was Lady Henry Somerset, the temperance leader. Julia moved to England with her mother at the age of two and spent much of her early life with another of her mother's sisters, Sarah Monckton Pattle. Sarah and her husband Henry Thoby Prinsep, conducted an artistic and literary salon at Little Holland House where she came into contact with a number of Pre-Raphaelite painters such as Edward Burne-Jones, for whom she modelled. Julia was the youngest of three sisters, and Adeline Virginia was named after her mother's eldest sister Adeline Maria Jackson (1837–1881) and her mother's aunt Virginia Pattle (see Pattle family tree). Because of the tragedy of her aunt Adeline's death the previous year, the family never used Virginia's first name. The Jacksons were a well educated, literary and artistic proconsular middle-class family. In 1867, Julia Jackson married Herbert Duckworth, a barrister, but within three years was left a widow with three infant children. She was devastated and entered a prolonged period of mourning, abandoning her faith and turning to nursing and philanthropy. Julia and Herbert Duckworth had three children: George (5 March 1868 – 27 April 1934), a senior civil servant, married Lady Margaret Herbert in 1904 Stella (30 May 1869 – 19 July 1897), died aged 28 Gerald (29 October 1870 – 28 September 1937), founder of Duckworth Publishing, married Cecil Alice Scott-Chad in 1921 Leslie Stephen was born in 1832 in South Kensington to Sir James and Lady Jane Catherine Stephen (née Venn), daughter of John Venn, rector of Clapham. The Venns were the centre of the evangelical Clapham Sect. Sir James Stephen was the under secretary at the Colonial Office, and with another Clapham member, William Wilberforce, was responsible for the passage of the Slavery Abolition Bill in 1833. In 1849 he was appointed Regius Professor of Modern History at Cambridge University. As a family of educators, lawyers, and writers the Stephens represented the elite intellectual aristocracy. While his family were distinguished and intellectual, they were less colourful and aristocratic than Julia Jackson's. A graduate and fellow of Cambridge University he renounced his faith and position to move to London where he became a notable man of letters. In addition, he was a rambler and mountaineer, described as a "gaunt figure with the ragged red brown beard...a formidable man, with an immensely high forehead, steely-blue eyes, and a long pointed nose." In the same year as Julia Jackson's marriage, he wed Harriet Marian (Minny) Thackeray (1840–1875), youngest daughter of William Makepeace Thackeray, who bore him a daughter, Laura (1870–1945), but died in childbirth in 1875. Laura was developmentally disabled and eventually institutionalised. The widowed Julia Duckworth knew Leslie Stephen through her friendship with Minny's elder sister Anne (Anny) Isabella Ritchie and had developed an interest in his agnostic writings. She was present the night Minny died and later, tended to Leslie Stephen and helped him move next door to her on Hyde Park Gate so Laura could have some companionship with her own children. Both were preoccupied with mourning and although they developed a close friendship and intense correspondence, agreed it would go no further. Leslie Stephen proposed to her in 1877, an offer she declined, but when Anny married later that year she accepted him and they were married on 26 March 1878. He and Laura then moved next door into Julia's house, where they lived till his death in 1904. Julia was 32 and Leslie was 46. Their first child, Vanessa, was born on 30 May 1879. Julia, having presented her husband with a child and now having five children to care for, decided to limit her family's growth. However, despite the fact that the couple took "precautions", "contraception was a very imperfect art in the nineteenth century": it resulted in the birth of three more children over the next four years. 22 Hyde Park Gate (1882–1904) 1882–1895 Virginia Woolf provides insight into her early life in her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921), and A Sketch of the Past (1940). Other essays that provide insight into this period include Leslie Stephen (1932). She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure of her mother becomes more nuanced and filled in. In February 1891, with her sister Vanessa, Woolf began the Hyde Park Gate News, chronicling life and events within the Stephen family, and modelled on the popular magazine Tit-Bits. Initially, this was mainly Vanessa's and Thoby's articles, but very soon Virginia became the main contributor, with Vanessa as editor. Their mother's response when it first appeared was "Rather clever I think". Virginia would run the Hyde Park Gate News until 1895, the time of her mother's death. The following year the Stephen sisters also used photography to supplement their insights, as did Stella Duckworth. Vanessa Bell's 1892 portrait of her sister and parents in the Library at Talland House (see image) was one of the family's favourites and was written about lovingly in Leslie Stephen's memoir. In 1897 ("the first really lived year of my life)" Virginia began her first diary, which she kept for the next twelve years, and a notebook in 1909. Virginia was, as she describes it, "born into a large connection, born not of rich parents, but of well-to-do parents, born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world." It was a well-connected family consisting of six children, with two half brothers and a half sister (the Duckworths, from her mother's first marriage), another half sister, Laura (from her father's first marriage), and an older sister, Vanessa, and brother Thoby. The following year, another brother Adrian followed. The disabled Laura Stephen lived with the family until she was institutionalised in 1891. Julia and Leslie had four children together: Vanessa "Nessa" (30 May 1879 – 1961), married Clive Bell in 1907 Thoby (9 September 1880 – 1906), founded Bloomsbury Group Virginia "Jinny"/"Ginia" (25 January 1882 – 1941), married Leonard Woolf in 1912 Adrian (27 October 1883 – 1948), married Karin Costelloe in 1914 Virginia was born at 22 Hyde Park Gate and lived there until her father's death in 1904. Number 22 Hyde Park Gate, South Kensington, lay at the south-east end of Hyde Park Gate, a narrow cul-de-sac running south from Kensington Road, just west of the Royal Albert Hall, and opposite Kensington Gardens and Hyde Park, where the family regularly took their walks (see Map; Street plan). Built in 1846 by Henry Payne of Hammersmith as one of a row of single-family townhouses for the upper middle class, it soon became too small for their expanding family. At the time of their marriage, it consisted of a basement, two storeys, and an attic. In July 1886 Leslie Stephen obtained the services of J. W. Penfold, an architect, to add additional living space above and behind the existing structure. The substantial renovations added a new top floor (see image of red brick extension), with three bedrooms and a study for himself, converted the original attic into rooms, and added the first bathroom. It was a tall but narrow townhouse, that at that time had no running water. Virginia would later describe it as "a very tall house on the left-hand side near the bottom which begins by being stucco and ends by being red brick; which is so high and yet—as I can say now that we have sold it—so rickety that it seems as if a very high wind would topple it over." The servants worked "downstairs" in the basement. The ground floor had a drawing room, separated by a curtain from the servant's pantry and a library. Above this on the first floor were Julia and Leslie's bedrooms. On the next floor were the Duckworth children's rooms, and above them, the day and night nurseries of the Stephen children occupied two further floors. Finally, in the attic, under the eaves, were the servants' bedrooms, accessed by a back staircase. Life at 22 Hyde Park Gate was also divided symbolically; as Virginia put it, "The division in our lives was curious. Downstairs there was pure convention: upstairs pure intellect. But there was no connection between them", the worlds typified by George Duckworth and Leslie Stephen. Their mother, it seems, was the only one who could span this divide. The house was described as dimly lit and crowded with furniture and paintings. Within it, the younger Stephens formed a close-knit group. Despite this, the children still held their grievances. Virginia envied Adrian for being their mother's favourite. Virginia and Vanessa's status as creatives (writing and art respectively) caused a rivalry between them at times. Life in London differed sharply from their summers in Cornwall, their outdoor activities consisting mainly of walks in nearby Kensington Gardens, where they would play hide-and-seek and sail their boats on the Round Pond, while indoors, it revolved around their lessons. Leslie Stephen's eminence as an editor, critic, and biographer, and his connection to William Thackeray, meant his children were raised in an environment filled with the influences of a Victorian literary society. Henry James, George Henry Lewes, Alfred Lord Tennyson, Thomas Hardy, Edward Burne-Jones, and Virginia's honorary godfather, James Russell Lowell, were among the visitors to the house. Julia Stephen was equally well connected. Her aunt was a pioneering early photographer, Julia Margaret Cameron, who was also a visitor to the Stephen household. The two Stephen sisters, Vanessa and Virginia, were almost three years apart in age. Virginia christened her older sister "the saint" and was far more inclined to exhibit her cleverness than her more reserved sister. Virginia resented the domesticity Victorian tradition forced on them far more than her sister. They also competed for Thoby's affections. Virginia would later confess her ambivalence over this rivalry to Duncan Grant in 1917: "indeed one of the concealed worms of my life has been a sister's jealousy – of a sister I mean; and to feed this I have invented such a myth about her that I scarce know one from t'other." Virginia showed an early affinity for writing. Although both parents disapproved of formal education for females, writing was considered a respectable profession for women, and her father encouraged her in this respect. Later, she would describe this as "ever since I was a little creature, scribbling a story in the manner of Hawthorne on the green plush sofa in the drawing room at St. Ives while the grown-ups dined". By the age of five, she was writing letters and could tell her father a story every night. Later, she, Vanessa, and Adrian would develop the tradition of inventing a serial about their next-door neighbours, every night in the nursery, or in the case of St. Ives, of spirits that resided in the garden. It was her fascination with books that formed the strongest bond between her and her father. For her tenth birthday, she received an ink-stand, a blotter, drawing book and a box of writing implements. Talland House (1882–1894) Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen family leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882–1894) at St Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed, "My Julia was of course, though with all due reserve, a bit of a matchmaker." Amongst their guests in 1893 were the Brookes, whose children, including Rupert Brooke, played with the Stephen children. Rupert and his group of Cambridge Neo-pagans would come to play an important role in their lives in the years before the First World War. While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than at their mother's Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children, it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden … The sound of the sea at night … almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). 1895–1904 Julia Stephen fell ill with influenza in February 1895, and never properly recovered, dying on 5 May, when Virginia was 13. It was a pivotal moment in her life and the beginning of her struggles with mental illness. Essentially, her life had fallen apart. The Duckworths were travelling abroad at the time of their mother's death, and Stella returned immediately to take charge and assume her role. That summer, rather than return to the memories of St Ives, the Stephens went to Freshwater, Isle of Wight, where some of their mother's relatives lived. It was there that Virginia had the first of her many nervous breakdowns, and Vanessa was forced to assume some of her mother's role in caring for Virginia's mental state. Stella became engaged to Jack Hills the following year and they were married on 10 April 1897, making Virginia even more dependent on her older sister. George Duckworth also assumed some of their mother's role, taking upon himself the task of bringing them out into society. First Vanessa, then Virginia, in both cases an equal disaster, for it was not a rite of passage that resonated with either girl and attracted a scathing critique by Virginia regarding the conventional expectations of young upper-class women: "Society in those days was a perfectly competent, perfectly complacent, ruthless machine. A girl had no chance against its fangs. No other desires – say to paint, or to write – could be taken seriously". Rather her priorities were to escape from the Victorian conventionality of the downstairs drawing room to a "room of one's own" to pursue her writing aspirations. She would revisit this criticism in her depiction of Mrs. Ramsay stating the duties of a Victorian mother in To the Lighthouse "an unmarried woman has missed the best of life". The death of Stella Duckworth on 19 July 1897, after a long illness, was a further blow to Virginia's sense of self, and the family dynamics. Woolf described the period following the death of both her mother and Stella as "1897–1904 – the seven unhappy years", referring to "the lash of a random unheeding flail that pointlessly and brutally killed the two people who should, normally and naturally, have made those years, not perhaps happy but normal and natural". In April 1902, their father became ill, and although he underwent surgery later that year he never fully recovered, dying on 22 February 1904. Virginia's father's death precipitated a further breakdown. Later, Virginia would describe this time as one in which she was dealt successive blows as a "broken chrysalis" with wings still creased. Chrysalis occurs many times in Woolf's writing but the "broken chrysalis" was an image that became a metaphor for those exploring the relationship between Woolf and grief. At his death, Leslie Stephen's net worth was £15,715 6s. 6d. (probate 23 March 1904) Education In the late 19th century, education was sharply divided along gender lines, a tradition that Virginia would note and condemn in her writing. Boys were sent to school, and in upper-middle-class families such as the Stephens, it involved private boys schools, often boarding schools, and university. Girls, if they were afforded the luxury of education, received it from their parents, governesses, and tutors. Virginia was educated by her parents who shared the duty. There was a small classroom off the back of the drawing room, with its many windows, which they found perfect for quiet writing and painting. Julia taught the children Latin, French, and history, while Leslie taught them mathematics. They also received piano lessons. Supplementing their lessons was the children's unrestricted access to Leslie Stephen's vast library, exposing them to much of the literary canon, resulting in a greater depth of reading than any of their Cambridge contemporaries, Virginia's reading being described as "greedy". Later, she would recall After public school, the boys in the family all attended Cambridge University. The girls derived some indirect benefit from this, as the boys introduced them to their friends. Another source was the conversation of their father's friends, to whom they were exposed. Leslie Stephen described his circle as "most of the literary people of mark...clever young writers and barristers, chiefly of the radical persuasion...we used to meet on Wednesday and Sunday evenings, to smoke and drink and discuss the universe and the reform movement". Later, between the ages of 15 and 19, Virginia was able to pursue higher education. She took courses of study, some at degree level, in beginning and advanced Ancient Greek, intermediate Latin and German, together with continental and English history at the Ladies' Department of King's College London at nearby 13 Kensington Square between 1897 and 1901. She studied Greek under the eminent scholar George Charles Winter Warr, professor of Classical Literature at King's. In addition she had private tutoring in German, Greek, and Latin. One of her Greek tutors was Clara Pater (1899–1900), who taught at King's. Another was Janet Case, who involved her in the women's rights movement, and whose obituary Virginia would later write in 1937. Her experiences led to her 1925 essay "On Not Knowing Greek". Her time at King's also brought her into contact with some of the early reformers of women's higher education such as the principal of the Ladies' Department, Lilian Faithfull (one of the so-called steamboat ladies), in addition to Pater. Her sister Vanessa also enrolled at the Ladies' Department (1899–1901). Although the Stephen girls could not attend Cambridge, they were to be profoundly influenced by their brothers' experiences there. When Thoby went to Trinity in 1899, he befriended a circle of young men, including Clive Bell, Lytton Strachey, Leonard Woolf (whom Virginia would later marry), and Saxon Sydney-Turner, whom he would soon introduce to his sisters at the Trinity May Ball in 1900. These men formed a reading group they named the Midnight Society. Relationships with family Although Virginia expressed the opinion her father was her favourite parent, and although she had only turned thirteen when her mother died, she was profoundly influenced by her mother throughout her life. It was Virginia who famously stated that "for we think back through our mothers if we are women", and invoked the image of her mother repeatedly throughout her life in her diaries, her letters and a number of her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921) and A Sketch of the Past (1940), frequently evoking her memories with the words "I see her ...". She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), the artist, Lily Briscoe, attempts to paint Mrs. Ramsay, a complex character based on Julia Stephen, and repeatedly comments on the fact that she was "astonishingly beautiful". Her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure becomes more nuanced and complete. While her father painted Julia Stephen's work in terms of reverence, Woolf drew a sharp distinction between her mother's work and "the mischievous philanthropy which other women practise so complacently and often with such disastrous results." She describes her degree of sympathy, engagement, judgement, and decisiveness, and her sense of both irony and the absurd. She recalls trying to recapture "the clear round voice, or the sight of the beautiful figure, so upright and distinct, in its long shabby cloak, with the head held at a certain angle, so that the eye looked straight out at you." Julia Stephen dealt with her husband's depressions and his need for attention, which created resentment in her children, boosted his self-confidence, nursed her parents in their final illness, and had many commitments outside the home that would eventually wear her down. Her frequent absences and the demands of her husband instilled a sense of insecurity in her children that had a lasting effect on her daughters. In considering the demands on her mother, Woolf described her father as "fifteen years her elder, difficult, exacting, dependent on her," and reflected that it was at the expense of the amount of attention she could spare her young children: "a general presence rather than a particular person to a child." She reflected that she rarely ever spent a moment alone with her mother: "someone was always interrupting." Woolf was ambivalent about it, yet eager to separate herself from this model of utter selflessness. In To the Lighthouse, she describes it as "boasting of her capacity to surround and protect, there was scarcely a shell of herself left for her to know herself by; all was so lavished and spent." At the same time, she admired the strengths of her mother's womanly ideals. Given Julia's frequent absences and commitments, the young Stephen children became increasingly dependent on Stella Duckworth, who emulated her mother's selflessness; as Woolf wrote, "Stella was always the beautiful attendant handmaid ... making it the central duty of her life." Julia Stephen greatly admired her husband's intellect. As Woolf observed "she never belittled her own works, thinking them, if properly discharged, of equal, though other, importance with her husband's." She believed with certainty in her role as the centre of her activities, and the person who held everything together, with a firm sense of what was important and valuing devotion. Of the two parents, Julia's "nervous energy dominated the family". While Virginia identified most closely with her father, Vanessa stated her mother was her favourite parent. Angelica Garnett recalls how Virginia asked Vanessa which parent she preferred, although Vanessa considered it a question that "one ought not to ask", she was unequivocal in answering "Mother" yet the centrality of her mother to Virginia's world is expressed in this description of her "Certainly there she was, in the very centre of that great Cathedral space which was childhood; there she was from the very first". Virginia observed that her half-sister, Stella, the oldest daughter, led a life of total subservience to her mother, incorporating her ideals of love and service. Virginia quickly learned, that like her father, being ill was the only reliable way of gaining the attention of her mother, who prided herself on her sickroom nursing. Another issue the children had to deal with was Leslie Stephen's temper, Woolf describing him as "the tyrant father". Eventually, she became deeply ambivalent about him. He had given her his ring on her eighteenth birthday and she had a deep emotional attachment as his literary heir, writing about her "great devotion for him". Yet, like Vanessa, she also saw him as victimiser and tyrant. She had a lasting ambivalence towards him through her life, albeit one that evolved. Her adolescent image was of an "Eminent Victorian" and tyrant but as she grew older she began to realise how much of him was in her: "I have been dipping into old letters and father's memoirs....so candid and reasonable and transparent—and had such a fastidious delicate mind, educated, and transparent," she wrote 22 December 1940. She was in turn both fascinated and condemnatory of Leslie Stephen: "She [her mother] has haunted me: but then, so did that old wretch my father. . . . I was more like him than her, I think; and therefore more critical: but he was an adorable man, and somehow, tremendous." Sexual abuse Woolf stated that she first remembers being molested by Gerald Duckworth when she was six years old. It has been suggested that this led to a lifetime of sexual fear and resistance to masculine authority. Against a background of over-committed and distant parents, suggestions that this was a dysfunctional family must be evaluated. These include evidence of sexual abuse of the Stephen girls by their older Duckworth half-brothers, and by their cousin, James Kenneth Stephen (1859–1892), at least of Stella Duckworth. Laura is also thought to have been abused. The most graphic account is by Louise DeSalvo, but other authors and reviewers have been more cautious. Virginia's accounts of being continually sexually abused during the time that she lived at 22 Hyde Park Gate, have been cited by some critics as a possible cause of her mental health issues, although there are likely to be a number of contributing factors. Lee states that, "The evidence is strong enough, and yet ambiguous enough, to open the way for conflicting psychobiographical interpretations that draw quite different shapes of Virginia Woolf's interior life". Bloomsbury (1904–1940) Gordon Square (1904–1907) On their father's death, the Stephens' first instinct was to escape from the dark house of yet more mourning, and this they did immediately, accompanied by George, travelling to Manorbier, on the coast of Pembrokeshire on 27 February. There, they spent a month, and it was there that Virginia first came to realise her destiny was as a writer, as she recalls in her diary of 3 September 1922. They then further pursued their newfound freedom by spending April in Italy and France, where they met up with Clive Bell again. Virginia then suffered her second nervous breakdown, and first suicidal attempt on 10 May, and convalesced over the next three months. Before their father died, the Stephens had discussed the need to leave South Kensington in the West End, with its tragic memories and their parents' relations. George Duckworth was 35, his brother Gerald 33. The Stephen children were now between 24 and 20. Virginia was 22. Vanessa and Adrian decided to sell 22 Hyde Park Gate in respectable South Kensington and move to Bloomsbury. Bohemian Bloomsbury, with its characteristic leafy squares seemed sufficiently far away, geographically and socially, and was a much cheaper neighbourhood rentwise. They had not inherited much and they were unsure about their finances. Also, Bloomsbury was close to the Slade School which Vanessa was then attending. While Gerald was quite happy to move on and find himself a bachelor establishment, George who had always assumed the role of quasi-parent decided to accompany them, much to their dismay. It was then that Lady Margaret Herbert appeared on the scene, George proposed, was accepted and married in September, leaving the Stephens to their own devices. Vanessa found a house at 46 Gordon Square in Bloomsbury, and they moved in November, to be joined by Virginia now sufficiently recovered. It was at Gordon Square that the Stephens began to regularly entertain Thoby's intellectual friends in March 1905. The circle, which largely came from the Cambridge Apostles, included writers (Saxon Sydney-Turner, Lytton Strachey) and critics (Clive Bell, Desmond MacCarthy) with Thursday evening "At Homes" that became known as the Thursday Club, a vision of recreating Trinity College ("Cambridge in London"). This circle formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Later, it would include John Maynard Keynes (1907), Duncan Grant (1908), E.M. Forster (1910), Roger Fry (1910), Leonard Woolf (1911), and David Garnett (1914). In 1905, Virginia and Adrian visited Portugal and Spain. Clive Bell proposed to Vanessa, but was declined, while Virginia began teaching evening classes at Morley College and Vanessa added another event to their calendar with the Friday Club, dedicated to the discussion of and later exhibition of the fine arts. This introduced some new people into their circle, including Vanessa's friends from the Royal Academy and Slade, such as Henry Lamb and Gwen Darwin (who became secretary), but also the eighteen-year-old Katherine Laird ("Ka") Cox (1887–1938), who was about to go up to Newnham. Although Virginia did not actually meet Ka until much later, Ka would come to play an important part in her life. Ka and others brought the Bloomsbury Group into contact with another, slightly younger, group of Cambridge intellectuals to whom the Stephen sisters gave the name "Neo-pagans". The Friday Club continued until 1913. The following year, 1906, Virginia suffered two further losses. Her cherished brother Thoby, who was only 26, died of typhoid, following a trip they had all taken to Greece, and immediately afterward Vanessa accepted Clive's third proposal. Vanessa and Clive were married in February 1907 and as a couple, their interest in avant-garde art would have an important influence on Woolf's further development as an author. With Vanessa's marriage, Virginia and Adrian needed to find a new home. Fitzroy Square (1907–1911) Virginia moved into 29 Fitzroy Square in April 1907, a house on the west side of the street, formerly occupied by George Bernard Shaw. It was in Fitzrovia, immediately to the west of Bloomsbury but still relatively close to her sister at Gordon Square. The two sisters continued to travel together, visiting Paris in March. Adrian was now to play a much larger part in Virginia's life, and they resumed the Thursday Club in October at their new home, while Gordon Square became the venue for the Play Reading Society in December. During this period, the group began to increasingly explore progressive ideas, first in speech, and then in conduct, Vanessa proclaiming in 1910 a libertarian society with sexual freedom for all. Meanwhile, Virginia began work on her first novel, Melymbrosia, that eventually became The Voyage Out (1915). Vanessa's first child, Julian was born in February 1908, and in September Virginia accompanied the Bells to Italy and France. It was during this time that Virginia's rivalry with her sister resurfaced, flirting with Clive, which he reciprocated, and which lasted on and off from 1908 to 1914, by which time her sister's marriage was breaking down. On 17 February 1909, Lytton Strachey proposed to Virginia and she accepted, but he then withdrew the offer. It was while she was at Fitzroy Square that the question arose of Virginia needing a quiet country retreat, and she required a six-week rest cure and sought the countryside away from London as much as possible. In December, she and Adrian stayed at Lewes and started exploring the area of Sussex around the town. She started to want a place of her own, like St Ives, but closer to London. She soon found a property in nearby Firle (see below), maintaining a relationship with that area for the rest of her life. Dreadnought hoax 1910 Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008). Brunswick Square (1911–1912) In October 1911, the lease on Fitzroy Square was running out and Virginia and Adrian decided to give up their home on Fitzroy Square in favour of a different living arrangement, moving to a four-storied house at 38 Brunswick Square in Bloomsbury proper in November. Virginia saw it as a new opportunity: "We are going to try all kinds of experiments," she told Ottoline Morrell. Adrian occupied the second floor, with Maynard Keynes and Duncan Grant sharing the ground floor. This arrangement for a single woman was considered scandalous, and George Duckworth was horrified. The house was adjacent to the Foundling Hospital, much to Virginia's amusement as an unchaperoned single woman. Originally, Ka Cox was supposed to share in the arrangements, but opposition came from Rupert Brooke, who was involved with her and pressured her to abandon the idea. At the house, Duncan Grant decorated Adrian Stephen's rooms (see image). Marriage (1912–1941) Leonard Woolf was one of Thoby Stephen's friends at Trinity College, Cambridge, and noticed the Stephen sisters in Thoby's rooms there on their visits to the May Ball in 1900 and 1901. He recalls them in "white dresses and large hats, with parasols in their hands, their beauty literally took one's breath away". To him, they were silent, "formidable and alarming". Woolf did not meet Virginia formally till 17 November 1904 when he dined with the Stephens at Gordon Square, to say goodbye before leaving to take up a position with the civil service in Ceylon, although she was aware of him through Thoby's stories. At that visit he noted that she was perfectly silent throughout the meal, and looked ill. In 1909, Lytton Strachey suggested to Woolf he should make her an offer of marriage. He did so, but received no answer. In June 1911, he returned to London on a one-year leave, but did not go back to Ceylon. In England again, Leonard renewed his contacts with family and friends. Three weeks after arriving he dined with Vanessa and Clive Bell at Gordon Square on 3 July, where they were later joined by Virginia and other members of what would later be called "Bloomsbury", and Leonard dates the group's formation to that night. In September, Virginia asked Leonard to join her at Little Talland House at Firle in Sussex for a long weekend. After that weekend, they began seeing each other more frequently. On 4 December 1911, Leonard moved into the ménage on Brunswick Square, occupying a bedroom and sitting room on the fourth floor, and started to see Virginia constantly and by the end of the month had decided he was in love with her. On 11 January 1912, he proposed to her; she asked for time to consider, so he asked for an extension of his leave and, on being refused, offered his resignation on 25 April, effective 20 May. He continued to pursue Virginia, and in a letter of 1 May 1912 (which see) she explained why she did not favour a marriage. However, on 29 May, Virginia told Leonard that she wished to marry him, and they were married on 10 August at the St Pancras Register Office. It was during this time that Leonard first became aware of Virginia's precarious mental state. The Woolfs continued to live at Brunswick Square until October 1912, when they moved to a small flat at 13 Clifford's Inn, further to the east (subsequently demolished). Despite his low material status (Woolf referring to Leonard during their engagement as a "penniless Jew"), the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making—after 25 years can't bear to be separate ... you see it is enormous pleasure being wanted: a wife. And our marriage so complete." However, Virginia made a suicide attempt in 1913. In October 1914, Leonard and Virginia Woolf moved away from Bloomsbury and central London to Richmond, living at 17 The Green, a home discussed by Leonard in his autobiography Beginning Again (1964). In early March 1915, the couple moved again, to nearby Hogarth House, Paradise Road, after which they named their publishing house. Virginia's first novel, The Voyage Out was published in 1915, followed by another suicide attempt. Despite the introduction of conscription in 1916, Leonard was exempted on medical grounds. Between 1924 and 1940, the Woolfs returned to Bloomsbury, taking out a ten-year lease at 52 Tavistock Square, from where they ran the Hogarth Press from the basement, where Virginia also had her writing room, and is commemorated with a bust of her in the square (see illustration). 1925 saw the publication of Mrs Dalloway in May followed by her collapse while at Charleston in August. In 1927, her next novel, To the Lighthouse, was published, and the following year she lectured on Women & Fiction at Cambridge University and published Orlando in October. Her two Cambridge lectures then became the basis for her major essay A Room of One's Own in 1929. Virginia wrote only one drama, Freshwater, based on her great-aunt Julia Margaret Cameron, and produced at her sister's studio on Fitzroy Street in 1935. 1936 saw another collapse of her health following the completion of The Years. The Woolf's final residence in London was at 37 Mecklenburgh Square (1939–1940), destroyed during the Blitz in September 1940; a month later their previous home on Tavistock Square was also destroyed. After that, they made Sussex their permanent home. For descriptions and illustrations of all Virginia Woolf's London homes, see Jean Moorcroft Wilson's book Virginia Woolf, Life and London: A Biography of Place (pub. Cecil Woolf, 1987). Hogarth Press (1917–1938) Virginia had taken up book-binding as a pastime in October 1901, at the age of 19, and the Woolfs had been discussing setting up a publishing house for some time, and at the end of 1916 started making plans. Having discovered that they were not eligible to enroll in the St Bride School of Printing, they started purchasing supplies after seeking advice from the Excelsior Printing Supply Company on Farringdon Road in March 1917, and soon they had a printing press set up on their dining room table at Hogarth House, and the Hogarth Press was born. Their first publication was Two Stories in July 1917, inscribed Publication No. 1, and consisted of two short stories, "The Mark on the Wall" by Virginia Woolf and Three Jews by Leonard Woolf. The work consisted of 32 pages, hand bound and sewn, and illustrated by woodcuts designed by Dora Carrington. The illustrations were a success, leading Virginia to remark that the press was "specially good at printing pictures, and we see that we must make a practice of always having pictures." (13 July 1917) The process took two and a half months with a production run of 150 copies. Other short short stories followed, including Kew Gardens (1919) with a woodblock by Vanessa Bell as frontispiece. Subsequently, Bell added further illustrations, adorning each page of the text. The press subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others. The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell. Woolf believed that to break free of a patriarchal society women writers needed a "room of their own" to develop and often fantasised about an "Outsider's Society" where women writers would create a virtual private space for themselves via their writings to develop a feminist critique of society. Though Woolf never created the "Outsider's society", the Hogarth Press was the closest approximation as the Woolfs chose to publish books by writers that took unconventional points of view to form a reading community. Initially the press concentrated on small experimental publications, of little interest to large commercial publishers. Until 1930, Woolf often helped her husband print the Hogarth books as the money for employees was not there. Virginia relinquished her interest in 1938, following a third attempted suicide. After it was bombed in September 1940, the press was moved to Letchworth for the remainder of the war. Both the Woolfs were internationalists and pacifists who believed that promoting understanding between peoples was the best way to avoid another world war and chose quite consciously to publish works by foreign authors of whom the British reading public were unaware. The first non-British author to be published was the Soviet writer Maxim Gorky, the book Reminiscences of Leo Nikolaiovich Tolstoy in 1920, dealing with his friendship with Count Leo Tolstoy. Memoir Club (1920–1941) 1920 saw a postwar reconstitution of the Bloomsbury Group, under the title of the Memoir Club, which as the name suggests focussed on self-writing, in the manner of Proust's A La Recherche, and inspired some of the more influential books of the 20th century. The Group, which had been scattered by the war, was reconvened by Mary ('Molly') MacCarthy who called them "Bloomsberries", and operated under rules derived from the Cambridge Apostles, an elite university debating society that a number of them had been members of. These rules emphasised candour and openness. Among the 125 memoirs presented, Virginia contributed three that were published posthumously in 1976, in the autobiographical anthology Moments of Being. These were 22 Hyde Park Gate (1921), Old Bloomsbury (1922) and Am I a Snob? (1936). Vita Sackville-West (1922–1941) The ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and on 14 December 1922 Woolf met the writer and gardener Vita Sackville-West, wife of Harold Nicolson, while dining with Clive Bell. Writing in her diary the next day, she referred to meeting "the lovely gifted aristocratic Sackville West". At the time, Sackville-West was the more successful writer as both poet and novelist, commercially and critically, and it was not until after Woolf's death that she became considered the better writer. After a tentative start, they began a sexual relationship, which, according to Sackville-West in a letter to her husband on 17 August 1926, was only twice consummated. The relationship reached its peak between 1925 and 1928, evolving into more of a friendship through the 1930s, though Woolf was also inclined to brag of her affairs with other women within her intimate circle, such as Sibyl Colefax and Comtesse de Polignac. This period of intimacy was to prove fruitful for both authors, Woolf producing three novels, To the Lighthouse (1927), Orlando (1928), and The Waves (1931) as well as a number of essays, including "Mr. Bennett and Mrs. Brown" (1924) and "A Letter to a Young Poet" (1932). Sackville-West worked tirelessly to lift Woolf's self-esteem, encouraging her not to view herself as a quasi-reclusive inclined to sickness who should hide herself away from the world, but rather offered praise for her liveliness and wit, her health, her intelligence and achievements as a writer. Sackville-West led Woolf to reappraise herself, developing a more positive self-image, and the feeling that her writings were the products of her strengths rather than her weakness. Starting at the age of 15, Woolf had believed the diagnosis by her father and his doctor that reading and writing were deleterious to her nervous condition, requiring a regime of physical labour such as gardening to prevent a total nervous collapse. This led Woolf to spend much time obsessively engaging in such physical labour. Sackville-West was the first to argue to Woolf she had been misdiagnosed, and that it was far better to engage in reading and writing to calm her nerves—advice that was taken. Under the influence of Sackville-West, Woolf learned to deal with her nervous ailments by switching between various forms of intellectual activities such as reading, writing and book reviews, instead of spending her time in physical activities that sapped her strength and worsened her nerves. Sackville-West chose the financially struggling Hogarth Press as her publisher to assist the Woolfs financially. Seducers in Ecuador, the first of the novels by Sackville-West published by Hogarth, was not a success, selling only 1500 copies in its first year, but the next Sackville-West novel they published, The Edwardians, was a best-seller that sold 30,000 copies in its first six months. Sackville-West's novels, though not typical of the Hogarth Press, saved Hogarth, taking them from the red into the black. However, Woolf was not always appreciative of the fact that it was Sackville-West's books that kept the Hogarth Press profitable, writing dismissively in 1933 of her "servant girl" novels. The financial security allowed by the good sales of Sackville-West's novels in turn allowed Woolf to engage in more experimental work, such as The Waves, as Woolf had to be cautious when she depended upon Hogarth entirely for her income. In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both sexes. It was published in October, shortly after the two women spent a week travelling together in France, that September. Nigel Nicolson, Vita Sackville-West's son, wrote, "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her." After their affair ended, the two women remained friends until Woolf's death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of typhoid fever at the age of 26. Sussex (1911–1941) Virginia was needing a country retreat to escape to, and on 24 December 1910, she found a house for rent in Firle, Sussex, near Lewes (see Map). She obtained a lease and took possession of the house the following month, naming it 'Little Talland House', after their childhood home in Cornwall, although it was actually a new red gabled villa on the main street opposite the village hall. The lease was a short one, and in October, she and Leonard Woolf found Asham House at Asheham a few miles to the west, while walking along the Ouse from Firle. The house, at the end of a tree-lined road was a strange beautiful Regency-Gothic house in a lonely location. She described it as "flat, pale, serene, yellow-washed", without electricity or water and allegedly haunted. She took out a five-year lease jointly with Vanessa in the New Year, and they moved into it in February 1912, holding a house warming party on the 9th. It was at Asham that the Woolfs spent their wedding night later that year. At Asham, she recorded the events of the weekends and holidays they spent there in her Asham Diary, part of which was later published as A Writer's Diary in 1953. In terms of creative writing, The Voyage Out was completed there, and much of Night and Day. Asham provided Woolf with well needed relief from the pace of London life and was where she found a happiness that she expressed in her diary of 5 May 1919 "Oh, but how happy we've been at Asheham! It was a most melodious time. Everything went so freely; – but I can't analyse all the sources of my joy". Asham was also the inspiration for A Haunted House (1921–1944), and was painted by members of the Bloomsbury Group, including Vanessa Bell and Roger Fry. It was during these times at Asham that Ka Cox (seen here) started to devote herself to Virginia and become very useful. While at Asham Leonard and Virginia found a farmhouse in 1916, that was to let, about four miles away, which they thought would be ideal for her sister. Eventually, Vanessa came down to inspect it, and moved in in October of that year, taking it as a summer home for her family. The Charleston Farmhouse was to become the summer gathering place for the literary and artistic circle of the Bloomsbury Group. After the end of the war, in 1918, the Woolfs were given a year's notice by the landlord, who needed the house. In mid-1919, "in despair", they purchased "a very strange little house" for £300, the Round House in Pipe Passage, Lewes, a converted windmill. No sooner had they bought the Round House, than Monk's House in nearby Rodmell, came up for auction, a weatherboarded house with oak beamed rooms, said to be 15th or 16th century. The Leonards favoured the latter because of its orchard and garden, and sold the Round House, to purchase Monk's House for £700. Monk's House also lacked water and electricity, but came with an acre of garden, and had a view across the Ouse towards the hills of the South Downs. Leonard Woolf describes this view (and the amenities) as being unchanged since the days of Chaucer. From 1940, it became their permanent home after their London home was bombed, and Virginia continued to live there until her death. Meanwhile, Vanessa made Charleston her permanent home in 1936. It was at Monk's House that Virginia completed Between the Acts in early 1941, followed by a further breakdown directly resulting in her suicide on 28 March 1941, the novel being published posthumously later that year. The Neo-pagans (1911–1912) During her time in Firle, Virginia became better acquainted with Rupert Brooke and his group of Neo-Pagans, pursuing socialism, vegetarianism, exercising outdoors and alternative life styles, including social nudity. They were influenced by the ethos of Bedales, Fabianism and Shelley. The women wore sandals, socks, open neck shirts and head-scarves. Although she had some reservations, Woolf was involved with their activities for a while, fascinated by their bucolic innocence in contrast to the sceptical intellectualism of Bloomsbury, which earned her the nickname "The Goat" from her brother Adrian. While Woolf liked to make much of a weekend she spent with Brooke at the vicarage in Grantchester, including swimming in the pool there, it appears to have been principally a literary assignation. They also shared a psychiatrist in the name of Maurice Craig. Through the Neo-Pagans, she finally met Ka Cox on a weekend in Oxford in January 1911, who had been part of the Friday Club circle and now became her friend and played an important part in dealing with her illnesses. Virginia nicknamed her "Bruin". At the same time, she found herself dragged into a triangular relationship involving Ka, Jacques Raverat and Gwen Darwin. She became resentful of the other couple, Jacques and Gwen, who married later in 1911, not the outcome Virginia had predicted or desired. They would later be referred to in both To the Lighthouse and The Years. The exclusion she felt evoked memories of both Stella Duckworth's marriage and her triangular involvement with Vanessa and Clive. The two groups eventually fell out. Brooke pressured Ka into withdrawing from joining Virginia's ménage on Brunswick Square in late 1911, calling it a "bawdy-house" and by the end of 1912 he had vehemently turned against Bloomsbury. Later, she would write sardonically about Brooke, whose premature death resulted in his idealisation, and express regret about "the Neo-Paganism at that stage of my life". Virginia was deeply disappointed when Ka married William Edward Arnold-Forster in 1918, and became increasingly critical of her. Mental health Much examination has been made of Woolf's mental health (e.g., see Mental health bibliography). From the age of 13, following the death of her mother, Woolf suffered periodic mood swings from severe depression to manic excitement, including psychotic episodes, which the family referred to as her "madness". However, as Hermione Lee points out, Woolf was not "mad"; she was merely a woman who suffered from and struggled with illness for much of her relatively short life, a woman of "exceptional courage, intelligence and stoicism", who made the best use, and achieved the best understanding she could of that illness. Psychiatrists today contend that her illness constitutes bipolar disorder (manic-depressive illness). Her mother's death in 1895, "the greatest disaster that could happen", precipitated a crisis of alternating excitability and depression accompanied by irrational fears, for which their family doctor, Dr. Seton, prescribed rest, stopping lessons and writing, and regular walks supervised by Stella. Yet just two years later, Stella too was dead, bringing on her next crisis in 1897, and her first expressed wish for death at the age of fifteen, writing in her diary that October that "death would be shorter & less painful". She then stopped keeping a diary for some time. This was a scenario she would later recreate in "Time Passes" (To the Lighthouse, 1927). The death of her father in 1904 provoked her most alarming collapse, on 10 May, when she threw herself out a window and she was briefly institutionalised under the care of her father's friend, the eminent psychiatrist George Savage. Savage blamed her education—frowned on by many at the time as unsuitable for women—for her illness. She spent time recovering at the house of Stella's friend Violet Dickinson, and at her aunt Caroline's house in Cambridge, and by January 1905, Dr. Savage considered her "cured". Violet, seventeen years older than Virginia, became one of her closest friends and one of her more effective nurses. She characterised it as a "romantic friendship" (Letter to Violet 4 May 1903). Her brother Thoby's death in 1906 marked a "decade of deaths” that ended her childhood and adolescence. Gordon (2004) writes: "Ghostly voices spoke to her with increasing urgency, perhaps more real than the people who lived by her side. When voices of the dead urged her to impossible things, they drove her mad but, controlled, they became the material of fiction..." On Dr. Savage's recommendation, Virginia spent three short periods in 1910, 1912, and 1913 at Burley House at 15 Cambridge Park, Twickenham (see image), described as "a private nursing home for women with nervous disorder" run by Miss Jean Thomas. By the end of February 1910, she was becoming increasingly restless, and Dr. Savage suggested being away from London. Vanessa rented Moat House, outside Canterbury, in June, but there was no improvement, so Dr. Savage sent her to Burley for a "rest cure". This involved partial isolation, deprivation of literature, and force-feeding, and after six weeks she was able to convalesce in Cornwall and Dorset during the autumn. She loathed the experience; writing to her sister on 28 July, she described how she found the phony religious atmosphere stifling and the institution ugly, and informed Vanessa that to escape "I shall soon have to jump out of a window." The threat of being sent back would later lead to her contemplating suicide. Despite her protests, Savage would refer her back in 1912 for insomnia and in 1913 for depression. On emerging from Burley House in September 1913, she sought further opinions from two other physicians on the 13th: Maurice Wright, and Henry Head, who had been Henry James's physician. Both recommended she return to Burley House. Distraught, she returned home and attempted suicide by taking an overdose of 100 grains of veronal (a barbiturate) and nearly dying: she was found by Ka Cox, who summoned help. On recovery, she went to Dalingridge Hall, George Duckworth's home in East Grinstead, Sussex, to convalesce on 30 September, accompanied by Ka Cox and a nurse, returning to Asham on 18 November with Cox and Janet Case. She remained unstable over the next two years, with another incident involving veronal that she claimed was an "accident", and consulted another psychiatrist in April 1914, Maurice Craig, who explained that she was not sufficiently psychotic to be certified or committed to an institution. The rest of the summer of 1914 went better for her, and they moved to Richmond, but in February 1915, just as The Voyage Out was due to be published, she relapsed once more, and remained in poor health for most of that year. Then, despite Miss Thomas's gloomy prognosis, she began to recover, following 20 years of ill health. Nevertheless, there was a feeling among those around her that she was now permanently changed, and not for the better. Over the rest of her life, she suffered recurrent bouts of depression. In 1940, a number of factors appeared to overwhelm her. Her biography of Roger Fry had been published in July, and she had been disappointed in its reception. The horrors of war depressed her, and their London homes had been destroyed in the Blitz in September and October. Woolf had completed Between the Acts (published posthumously in 1941) in November, and completing a novel was frequently accompanied by exhaustion. Her health became increasingly a matter of concern, culminating in her decision to end her life on 28 March 1941. Though this instability would frequently affect her social life, she was able to continue her literary productivity with few interruptions throughout her life. Woolf herself provides not only a vivid picture of her symptoms in her diaries and letters, but also her response to the demons that haunted her and at times made her long for death: "But it is always a question whether I wish to avoid these glooms... These 9 weeks give one a plunge into deep waters... One goes down into the well & nothing protects one from the assault of truth." Psychiatry had little to offer Woolf, but she recognised that writing was one of the behaviours that enabled her to cope with her illness: "The only way I keep afloat... is by working... Directly I stop working I feel that I am sinking down, down. And as usual, I feel that if I sink further I shall reach the truth." Sinking under water was Woolf's metaphor for both the effects of depression and psychosis— but also for finding truth, and ultimately was her choice of death. Throughout her life, Woolf struggled, without success, to find meaning in her illness: on the one hand, an impediment, on the other, something she visualised as an essential part of who she was, and a necessary condition of her art. Her experiences informed her work, such as the character of Septimus Warren Smith in Mrs Dalloway (1925), who, like Woolf, was haunted by the dead, and ultimately takes his own life rather than be admitted to a sanitorium. Leonard Woolf relates how during the 30 years they were married, they consulted many doctors in the Harley Street area, and although they were given a diagnosis of neurasthenia, he felt they had little understanding of the causes or nature. The proposed solution was simple—as long as she lived a quiet life without any physical or mental exertion, she was well. On the other hand, any mental, emotional, or physical strain resulted in a reappearance of her symptoms, beginning with a headache, followed by insomnia and thoughts that started to race. Her remedy was simple: to retire to bed in a darkened room, eat, and drink plenty of milk, following which the symptoms slowly subsided. Modern scholars, including her nephew and biographer, Quentin Bell, have suggested her breakdowns and subsequent recurring depressive periods were influenced by the sexual abuse which she and her sister Vanessa were subjected to by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays "A Sketch of the Past" and "22 Hyde Park Gate") (see Sexual abuse). Biographers point out that when Stella died in 1897, there was no counterbalance to control George's predation, and his nighttime prowling. Virginia describes him as her first lover, "The old ladies of Kensington and Belgravia never knew that George Duckworth was not only father and mother, brother and sister to those poor Stephen girls; he was their lover also." It is likely that other factors also played a part. It has been suggested that they include genetic predisposition, for both trauma and family history have been implicated in bipolar disorder. Virginia's father, Leslie Stephen, suffered from depression, and her half-sister Laura was institutionalised. Many of Virginia's symptoms, including persistent headache, insomnia, irritability, and anxiety, resembled of her father's. Another factor is the pressure she placed upon herself in her work; for instance, her breakdown of 1913 was at least partly triggered by the need to finish The Voyage Out. Virginia herself hinted that her illness was related to how she saw the repressed position of women in society, when she wrote in A Room of One's Own that had Shakespeare had a sister of equal genius, she "would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at". These inspirations emerged from what Woolf referred to as her lava of madness, describing her time at Burley in a 1930 letter to Ethel Smyth: Thomas Caramagno and others, in discussing her illness, oppose the "neurotic-genius" way of looking at mental illness, where creativity and mental illness are conceptualised as linked rather than antithetical. Stephen Trombley describes Woolf as having a confrontational relationship with her doctors, and possibly being a woman who is a "victim of male medicine", referring to the lack of understanding, particularly at the time, about mental illness. Death After completing the manuscript of her last novel (posthumously published), Between the Acts (1941), Woolf fell into a depression similar to one which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work. When Leonard enlisted in the Home Guard, Virginia disapproved. She held fast to her pacifism and criticised her husband for wearing what she considered to be "the silly uniform of the Home Guard". After World War II began, Woolf's diary indicates that she was obsessed with death, which figured more and more as her mood darkened. On 28 March 1941, Woolf drowned herself by filling her overcoat pockets with stones and walking into the River Ouse near her home. Her body was not found until 18 April. Her husband buried her cremated remains beneath an elm tree in the garden of Monk's House, their home in Rodmell, Sussex. In her suicide note, addressed to her husband, she wrote: Work Woolf is considered to be one of the more important 20th century novelists. A modernist, she was one of the pioneers of using stream of consciousness as a narrative device, alongside contemporaries such as Marcel Proust, Dorothy Richardson and James Joyce. Woolf's reputation was at its greatest during the 1930s, but declined considerably following World War II. The growth of feminist criticism in the 1970s helped re-establish her reputation. Virginia submitted her first article in 1890, to a competition in Tit-Bits. Although it was rejected, this shipboard romance by the 8-year-old would presage her first novel 25 years later, as would contributions to the Hyde Park News, such as the model letter "to show young people the right way to express what is in their hearts", a subtle commentary on her mother's legendary matchmaking. She transitioned from juvenilia to professional journalism in 1904 at the age of 22. Violet Dickinson introduced her to Mrs. Lyttelton, the editor of the Women's Supplement of The Guardian, a Church of England newspaper. Invited to submit a 1,500-word article, Virginia sent Lyttelton a review of W.D. Howells' The Son of Royal Langbirth and an essay about her visit to Haworth that year, Haworth, November 1904. The review was published anonymously on 4 December, and the essay on the 21st. In 1905, Woolf began writing for The Times Literary Supplement. Woolf would go on to publish novels and essays as a public intellectual to both critical and popular acclaim. Much of her work was self-published through the Hogarth Press. "Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: she is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions." "The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings"—often wartime environments—"of most of her novels." Fiction and drama Novels Her first novel, The Voyage Out, was published in 1915 at the age of 33, by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally titled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life. The novel is set on a ship bound for South America, and a group of young Edwardians onboard and their various mismatched yearnings and misunderstandings. In the novel are hints of themes that would emerge in later work, including the gap between preceding thought and the spoken word that follows, and the lack of concordance between expression and underlying intention, together with how these reveal to us aspects of the nature of love. "Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars". "To the Lighthouse (1927) is set on two days ten years apart. The plot centres on the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind." It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them. Orlando: A Biography (1928) is one of Virginia Woolf's lightest novels. A parodic biography of a young nobleman who lives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf's lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, Knole House, though it is also a satirical treatment of Vita and her work. In Orlando, the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed for it to be mocked. "The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centred novel". Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog's point of view. Woolf was inspired to write this book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by the actress Katharine Cornell. The Years (1936), traces the history of the genteel Pargiter family from the 1880s to the "present day" of the mid-1930s. The novel had its origin in a lecture Woolf gave to the National Society for Women's Service in 1931, an edited version of which would later be published as "Professions for Women". Woolf first thought of making this lecture the basis of a new book-length essay on women, this time taking a broader view of their economic and social life, rather than focusing on women as artists, as the first book had. She soon jettisoned the theoretical framework of her "novel-essay" and began to rework the book solely as a fictional narrative, but some of the non-fiction material she first intended for this book was later used in Three Guineas (1938). "Her last work, Between the Acts (1941), sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history." This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse. While Woolf's work can be understood as consistently in dialogue with the Bloomsbury Group, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals. Themes Woolf's fiction has been studied for its insight into many themes including war, shell shock, witchcraft, and the role of social class in contemporary modern British society. In the postwar Mrs Dalloway (1925), Woolf addresses the moral dilemma of war and its effects and provides an authentic voice for soldiers returning from World War I, suffering from shell shock, in the person of Septimus Smith. In A Room of One's Own (1929) Woolf equates historical accusations of witchcraft with creativity and genius among women "When, however, one reads of a witch being ducked, of a woman possessed by devils...then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen". Throughout her work Woolf tried to evaluate the degree to which her privileged background framed the lens through which she viewed class. She both examined her own position as someone who would be considered an elitist snob, but attacked the class structure of Britain as she found it. In her 1936 essay Am I a Snob?, she examined her values and those of the privileged circle she existed in. She concluded she was, and subsequent critics and supporters have tried to deal with the dilemma of being both elite and a social critic. The sea is a recurring motif in Woolf's work. Noting Woolf's early memory of listening to waves break in Cornwall, Katharine Smyth writes in The Paris Review that "the radiance [of] cresting water would be consecrated again and again in her writing, saturating not only essays, diaries, and letters but also Jacob’s Room, The Waves, and To the Lighthouse." Patrizia A. Muscogiuri explains that "seascapes, sailing, diving and the sea itself are aspects of nature and of human beings’ relationship with it which frequently inspired Virginia Woolf's writing." This trope is deeply embedded in her texts’ structure and grammar; James Antoniou notes in Sydney Morning Herald how "Woolf made a virtue of the semicolon, the shape and function of which resembles the wave, her most famous motif." Despite the considerable conceptual difficulties, given Woolf's idiosyncratic use of language, her works have been translated into over 50 languages. Some writers, such as the Belgian Marguerite Yourcenar, had rather tense encounters with her, while others, such as the Argentinian Jorge Luis Borges, produced versions that were highly controversial. Drama Virginia Woolf researched the life of her great-aunt, the photographer Julia Margaret Cameron, publishing her findings in an essay titled "Pattledom" (1925), and later in her introduction to her 1926 edition of Cameron's photographs. She had begun work on a play based on an episode in Cameron's life in 1923, but abandoned it. Finally it was performed on 18 January 1935 at the studio of her sister, Vanessa Bell on Fitzroy Street in 1935. Woolf directed it herself, and the cast were mainly members of the Bloomsbury Group, including herself. Freshwater is a short three act comedy satirising the Victorian era, only performed once in Woolf's lifetime. Beneath the comedic elements, there is an exploration of both generational change and artistic freedom. Both Cameron and Woolf fought against the class and gender dynamics of Victorianism and the play shows links to both To the Lighthouse and A Room of One's Own that would follow. Non-fiction Woolf wrote a body of autobiographical work and more than 500 essays and reviews, some of which, like A Room of One's Own (1929) were of book length. Not all were published in her lifetime. Shortly after her death, Leonard Woolf produced an edited edition of unpublished essays titled The Moment and other Essays, published by the Hogarth Press in 1947. Many of these were originally lectures that she gave, and several more volumes of essays followed, such as The Captain's Death Bed: and other essays (1950). A Room of One's Own Among Woolf's non-fiction works, one of the best known is A Room of One's Own (1929), a book-length essay. Considered a key work of feminist literary criticism, it was written following two lectures she delivered on "Women and Fiction" at Cambridge University the previous year. In it, she examines the historical disempowerment women have faced in many spheres, including social, educational and financial. One of her more famous dicta is contained within the book "A woman must have money and a room of her own if she is to write fiction". Much of her argument ("to show you how I arrived at this opinion about the room and the money") is developed through the "unsolved problems" of women and fiction writing to arrive at her conclusion, although she claimed that was only "an opinion upon one minor point". In doing so, she states a good deal about the nature of women and fiction, employing a quasi-fictional style as she examines where women writers failed because of lack of resources and opportunities, examining along the way the experiences of the Brontës, George Eliot and George Sand, as well as the fictional character of Shakespeare's sister, equipped with the same genius but not position. She contrasted these women who accepted a deferential status with Jane Austen, who wrote entirely as a woman. Influences Michel Lackey argues that a major influence on Woolf, from 1912 onward, was Russian literature and Woolf adopted many of its aesthetic conventions. The style of Fyodor Dostoyevsky with his depiction of a fluid mind in operation helped to influence Woolf's writings about a "discontinuous writing process", though Woolf objected to Dostoyevsky's obsession with "psychological extremity" and the "tumultuous flux of emotions" in his characters together with his right-wing, monarchist politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire. In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy. Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings. From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within. Lackey notes that, from Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overarching vision, which required a "total passion" for art. The American writer Henry David Thoreau also influenced Woolf. In a 1917 essay, she praised Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive." They both aimed to capture 'the moment'––as Walter Pater says, "to burn always with this hard, gem-like flame." Woolf praised Thoreau for his "simplicity" in finding "a way for setting free the delicate and complicated machinery of the soul". Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world. Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them. Woolf and Thoreau were both concerned with the difficulty of human relationships in the modern age. Other notable influences include William Shakespeare, George Eliot, Leo Tolstoy, Marcel Proust, Anton Chekhov, Emily Brontë, Daniel Defoe, James Joyce, and E.M. Forster. List of selected publications see , , Novels see also The Voyage Out & Complete text see also Night and Day & Complete text see also Jacob's Room & Complete text see also Mrs Dalloway & Complete text see also To the Lighthouse & Complete text, also Texts at Woolf Online see also Orlando: A Biography & Complete text see also The Waves & Complete text see also Between the Acts & Complete text Short stories see also A Haunted House and Other Short Stories & Complete text see also The Mark on the Wall & Complete text see also Kew Gardens & Complete text Cross-genre see also Flush: A Biography & Complete text Drama see also Freshwater Biography see also Roger Fry: A Biography & Complete text Essays see also A Room of One's Own & Complete text see also Mr. Bennett and Mrs. Brown & Complete text see also A Letter to a Young Poet & Complete text see also Three Guineas & Complete text Essay collections (Review) (Review) Complete text (Review) First American edition published by Harcourt, Brace and Company, New York, 1950. & also here — (1934). "Walter Sickert: A Conversation". Contributions (Digital edition) Autobiographical writing (Review) (see Moments of Being) , in (excerpts) , in (excerpts – 1st ed.) Memoir Club Contributions Diaries and notebooks Letters (Review) Photograph albums List of Album Guides Album 1 MS Thr 557 (1863–1938) Album 2 MS Thr 559 (1909–1922) Album 3 MS Thr 560 (1890–1933) Album 4 MS Thr 561 (1890–1947) Album 5 MS Thr 562 (1892–1938) Album 6 MS Thr 563 (1850–1900) Collections Views In her lifetime, Woolf was outspoken on many topics that were considered controversial, some of which are now considered progressive, others regressive. She was an ardent feminist at a time when women's rights were barely recognised, and anti-colonialist, anti-imperialist and a pacifist when chauvinism was popular. On the other hand, she has been criticised for views on class and race in her private writings and published works. Like many of her contemporaries, some of her writing is now considered offensive. As a result, she is considered polarising, a revolutionary feminist and socialist hero or a purveyor of hate speech. Works such as A Room of One's Own (1929) and Three Guineas (1938) are frequently taught as icons of feminist literature in courses that would be very critical of some of her views expressed elsewhere. She has also been the recipient of considerable homophobic and misogynist criticism. Humanist views Virginia Woolf was born into a non-religious family and is regarded, along with her fellow Bloomsberries E.M. Forster and G.E. Moore, as a humanist. Both her parents were prominent agnostic atheists. Her father, Leslie Stephen, had become famous in polite society for his writings which expressed and publicised reasons to doubt the veracity of religion. Stephen was also President of the West London Ethical Society, an early humanist organisation, and helped to found the Union of Ethical Societies in 1896. Woolf's mother, Julia Stephen, wrote the book Agnostic Women (1880), which argued that agnosticism (defined here as something more like atheism) could be a highly moral approach to life. Woolf was a critic of Christianity. In a letter to Ethel Smyth, she gave a scathing denunciation of the religion, seeing it as self-righteous "egotism" and stating "my Jew [Leonard] has more religion in one toenail—more human love, in one hair". Woolf stated in her private letters that she thought of herself as an atheist. Controversies Hermione Lee cites a number of extracts from Woolf's writings that many, including Lee, would consider offensive, and these criticisms can be traced back as far as those of Wyndham Lewis and Q.D. Leavis in the 1920s and 1930s. Other authors provide more nuanced contextual interpretations, and stress the complexity of her character and the apparent inherent contradictions in analysing her apparent flaws. She could certainly be off-hand, rude and even cruel in her dealings with other authors, translators and biographers, such as her treatment of Ruth Gruber. Some authors, particularly postcolonial feminists dismiss her (and modernist authors in general) as privileged, elitist, classist, racist, and antisemitic. Woolf's tendentious expressions, including prejudicial feelings against disabled people, have often been the topic of academic criticism: The first quotation is from a diary entry of September 1920 and runs: "The fact is the lower classes are detestable." The remainder follow the first in reproducing stereotypes standard to upper-class and upper-middle class life in the early 20th century: "imbeciles should certainly be killed"; "Jews" are greasy; a "crowd" is both an ontological "mass" and is, again, "detestable"; "Germans" are akin to vermin; some "baboon faced intellectuals" mix with "sad green dressed negroes and negresses, looking like chimpanzees" at a peace conference; Kensington High St. revolts one's stomach with its innumerable "women of incredible mediocrity, drab as dishwater". Antisemitism Though accused of antisemitism, the treatment of Judaism and Jews by Woolf is far from straightforward. She was happily married to a Jewish man (Leonard Woolf) but often wrote about Jewish characters using stereotypes and generalisations. For instance, she described some of the Jewish characters in her work in terms that suggested they were physically repulsive or dirty. On the other hand, she could criticise her own views: "How I hated marrying a Jew — how I hated their nasal voices and their oriental jewellery, and their noses and their wattles — what a snob I was: for they have immense vitality, and I think I like that quality best of all" (Letter to Ethel Smyth 1930). These attitudes have been construed to reflect, not so much antisemitism, but tribalism; she married outside her social grouping, and Leonard Woolf, too, expressed misgivings about marrying a gentile. Leonard, "a penniless Jew from Putney", lacked the material status of the Stephens and their circle. While travelling on a cruise to Portugal, she protested at finding "a great many Portuguese Jews on board, and other repulsive objects, but we keep clear of them". Furthermore, she wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." Her 1938 short story The Duchess and the Jeweller (originally titled The Duchess and the Jew) has been considered antisemitic. Yet Woolf and her husband Leonard came to despise and fear the 1930s fascism and antisemitism. Her 1938 book Three Guineas was an indictment of fascism and what Woolf described as a recurring propensity among patriarchal societies to enforce repressive societal mores by violence. Sexuality The Bloomsbury Group held very progressive views regarding sexuality and shucked the austere strictness of Victorian society. The majority of its members were homosexual or bisexual. Virginia was most likely a lesbian, some debate that she was bisexual. However she had several affairs with women, the most notable being with Vita Sackville-West which inspired Orlando: A Biography. The two of them remained lovers for a decade and stayed close friends for the rest of Virginia's life. Virginia had said to Vita she disliked masculinity Among her other notable affairs were Sibyl Colefax, Lady Ottoline Morrell and Mary Hutchinson. Some surmise that she may have fallen in love with Madge Symonds, the wife of one of her uncles. Madge Symonds was described as one of Virginia's early loves in Vita's diary She also fell in love with Violet Dickinson although there is some confusion as to whether the two consummated their relationship. In regards to relationships with men, Virginia was averse to sex with them, blaming the sexual abuse perpetrated upon her and her sister by her half-brothers when they were children and teens. This is one of the reasons she initially declined marriage proposals from her future husband, Leonard. She even went as far as to tell him that she was not attracted to him, but that she did love him and finally agreed to marriage. Virginia preferred female lovers to male lovers, for the most part, based on her aversion to sex with men. This aversion to relations with men influenced her writing especially when considering her sexual abuse as a child. Leonard became the love of her life and even though their sexual relationship was questionable, they loved each other deeply and formed a strong, supportive and prolific marriage which led to the formation of their publishing house as well as several of her writings. Neither was faithful to the other sexually, but they were faithful in their love and respect for each other. Modern scholarship and interpretations Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell. Hermione Lee's 1996 biography Virginia Woolf provides a thorough and authoritative examination of Woolf's life and work, which she discussed in an interview in 1997. In 2001, Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life (2005) focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. The sociologist Pierre Bourdieu also uses Woolf's literature to understand and analyse gender domination. Woolf biographer Gillian Gill notes that Woolf's traumatic experience of sexual abuse by her half-brothers during her childhood influenced her advocacy of protection of vulnerable children from similar experiences. Virginia Woolf and her mother The intense scrutiny of Virginia Woolf's literary output (see Bibliography) has led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter. Woolf states that, "my first memory, and in fact it is the most important of all my memories" is of her mother. Her memories of her mother are memories of an obsession, starting with her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect. In many ways, her mother's profound influence on Virginia Woolf is conveyed in the latter's recollections, "there she is; beautiful, emphatic ... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children". Woolf described her mother as an "invisible presence" in her life, and Ellen Rosenman argues that the mother-daughter relationship is a constant in Woolf's writing. She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death. Julia's influence and memory pervades Woolf's life and work. "She has haunted me", she wrote. Historical feminism According to the 2007 book Feminism: From Mary Wollstonecraft to Betty Friedan by Bhaskar A. Shukla, "Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer." In 1928, Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge and the Arts Society at Newnham College with two papers that eventually became A Room of One's Own (1929). Woolf's best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society. In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield— have explored "the given". In popular culture Who's Afraid of Virginia Woolf? is a 1962 play by Edward Albee. It examines the structure of the marriage of an American middle-aged academic couple, Martha and George. Mike Nichols directed a film version in 1966, starring Elizabeth Taylor and Richard Burton. Taylor won the 1966 Academy Award for Best Actress for the role. Me! I'm Afraid of Virginia Woolf, a 1978 TV play, references the title of the Edward Albee play and features an English literature teacher who has a poster of her. It was written by Alan Bennett and directed by Stephen Frears. The artwork The Dinner Party (1979) features a place setting for Woolf. The 1996 album Poetic Justice, by British musician Steve Harley, contains a tribute to Woolf, specifically her most adventurous novel, in its closing track: "Riding the Waves (for Virginia Woolf)". Michael Cunningham's 1998 Pulitzer Prize-winning novel The Hours focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released, starring Nicole Kidman as Woolf. Kidman won the 2003 Academy Award for her portrayal. Susan Sellers's novel Vanessa and Virginia (2008) explores the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre Company. Priya Parmar's 2014 novel Vanessa and Her Sister also examined the Stephen sisters' relationship during the early years of their association with what became known as the Bloomsbury Group. An exhibition on Virginia Woolf was held at the National Portrait Gallery from July to October 2014. In the 2014 novel The House at the End of Hope Street, Woolf is featured as one of the women who has lived in the titular house. Virginia is portrayed by both Lydia Leonard and Catherine McCormack in the BBC's three-part drama series Life in Squares (2015). On 25 January 2018, Google showed a Google doodle celebrating her 136th birthday. In many Barnes & Noble stores, Woolf is featured in Gary Kelly's Author Mural Panels, an imprint of the Barnes & Noble Author brand that also features other notable authors like Hurston, Tagore, and Kafka. The 2018 film Vita and Virginia depicts the relationship between Vita Sackville-West and Woolf, portrayed by Gemma Arterton and Elizabeth Debicki respectively. The 2020 novel Trio by William Boyd follows the life of Elfrida Wing, an alcoholic writer interested in the suicide of Woolf. Adaptations A number of Virginia Woolf's works have been adapted for the screen, and her play Freshwater (1935) is the basis for a 1994 chamber opera, Freshwater, by Andy Vores. The final segment of the 2018 London Unplugged is adapted from her short story Kew Gardens. Septimus and Clarissa, a stage adaptation of Mrs. Dalloway was created and produced by the New York-based ensemble Ripe Time in 2011 at the Baruch Performing Arts Center. It was adapted by Ellen McLaughlin, and directed and devised by Rachel Dickstein. It was nominated for a 2012 Drama League award for Outstanding Production, a Drama Desk nomination for Outstanding Score (Gina Leishman) and a Joe A. Calloway Award nomination for outstanding direction (Rachel Dickstein.) Legacy Virginia Woolf is known for her contributions to 20th-century literature and her essays, as well as the influence she has had on literary, particularly feminist criticism. A number of authors have stated that their work was influenced by her, including Margaret Atwood, Michael Cunningham, Gabriel García Márquez, and Toni Morrison. Her iconic image is instantly recognisable from the Beresford portrait of her at twenty (at the top of this page) to the Beck and Macgregor portrait in her mother's dress in Vogue at 44 (see image) or Man Ray's cover of Time magazine (see image) at 55. More postcards of Woolf are sold by the National Portrait Gallery, London than any other person. Her image is ubiquitous, and can be found on products ranging from tea towels to T-shirts. Virginia Woolf is studied around the world, with organisations such as the Virginia Woolf Society, and The Virginia Woolf Society of Japan. In addition, trusts—such as the Asham Trust—encourage writers in her honour. Although she had no descendants, a number of her extended family are notable. Monuments and memorials In 2013, Woolf was honoured by her alma mater of King's College London with the opening of the Virginia Woolf Building on Kingsway, with a plaque commemorating her time there and her contributions (see image), together with this exhibit depicting her accompanied by a quotation "London itself perpetually attracts, stimulates, gives me a play & a story & a poem" from her 1926 diary. Busts of Virginia Woolf have been erected at her home in Rodmell, Sussex and at Tavistock Square, London where she lived between 1924 and 1939. In 2014, she was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighbourhood noting LGBTQ people who have "made significant contributions in their fields". Woolf Works, a women's co-working space in Singapore, opened in 2014 and was named after her in tribute to the essay A Room of One's Own; it also has many other things named after it (see the essay's article). A campaign was launched in 2018 by Aurora Metro Arts and Media to erect a statue of Woolf in Richmond, where she lived for 10 years. The proposed statue shows her reclining on a bench overlooking the river Thames. Family trees see , , , \| Notes References Bibliography Books and theses see also The Second Sex see also Survey of London (Review) Biography: Virginia Woolf Vol. I: Virginia Stephen 1882 to 1912. London: Hogarth Press. 1972. Vol. II: Virginia Woolf 1912 to 1941. London: Hogarth Press. 1972. (Review) (Review) (Review) (additional excerpts) (Review) (excerpt - Chapter 1) (Review) (Review) (Review) (Illustrations of Woolf's London homes are excerpted at .) Mental health additional excerpts (summary) see also Touched with Fire Biography: Other (Review) (Review) (Review) (Review) (Review) (Review) also Internet archive also available through MOMA here Literary commentary (additional excerpts) (Review) additional excerpt (Review) (Review) (Review) Bloomsbury (additional excerpts) (Review) Chapters and contributions , in , in , in , in , in , in , in , in , in , in , in , in , in , in , in , in Articles Journals (text also available here) Dictionaries and encyclopaedias Newspapers and magazines archived version archived version with excerpt Websites and documents (includes invitation to first performance in 1935 and Lucio Ruotolo's introduction to the 1976 Hogarth Press edition) Blogs British Library Literary commentary British Library Virginia Woolf's homes and venues , in , in Virginia Woolf biography Timelines , in , in , in } , in Genealogy , in Images , in , in , in Maps , in Audiovisual media see also Life in Squares excerpt Selected online texts Audiofiles Archival material Bibliography notes Bibliography references External links Virginia Woolf Papers at the Mortimer Rare Book Collection, Smith College Special Collections 1882 births 1941 suicides 19th-century English women 19th-century English people 19th-century English writers 20th-century British short story writers 20th-century English women writers 20th-century English novelists 20th-century essayists 20th-century non-fiction writers Alumni of King's College London Bisexual women Bisexual writers Bloomsbury Group Bloomsbury Group biographers British anti-fascists British atheists British autobiographers British diarists British essayists British humanists British memoirists British pacifists British secularists British socialists British cultural critics British women dramatists and playwrights British women essayists British women short story writers Critics of Christianity Critics of Judaism Critics of new religious movements Critics of religions English anti-fascists English atheists English autobiographers English diarists English essayists English humanists English memoirists English pacifists English socialists English women dramatists and playwrights English women novelists LGBT memoirists LGBT writers from England Mental health activists Modernist women writers Modernist writers People from Kensington People with bipolar disorder British social commentators Social critics Stephen-Bell family Suicides by drowning in England Women diarists British women memoirists Writers about activism and social change Writers from London 20th-century memoirists Dreadnought hoax English feminist writers Atheist feminists People from Firle British feminists English feminists Lost Generation writers Pipe smokers	false	[ "Anything Can Happen is a 1952 comedy-drama film.\n\nAnything Can Happen may also refer to:\n\n Anything Can Happen (album), by Leon Russell, 1994\n \"Anything Can Happen\", a 2019 song by Saint Jhn \n Edhuvum Nadakkum ('Anything Can Happen'), a season of the Tamil TV series Marmadesam\n \"Anything Can Happen in the Next Half Hour\", or \"Anything Can Happen\", a 2007 song by Enter Shikari\n Anything Can Happen in the Next Half Hour (EP), 2004\n\nSee also\n \"Anything Could Happen\", a 2012 song by Ellie Goulding \n Anything Might Happen, 1934 British crime film\n Special Effects: Anything Can Happen, a 1996 American documentary film\n \"Anything Can Happen on Halloween\", a song from the 1986 film The Worst Witch \n Anything Can Happen in the Theatre, a musical revue of works by Maury Yeston\n \"The Anything Can Happen Recurrence\", an episode of The Big Bang Theory (season 7)\n The Anupam Kher Show - Kucch Bhi Ho Sakta Hai ('The Anupam Kher Show — Anything Can Happen') an Indian TV show", "\"Anything Can Happen in the Next Half Hour...\" (often shortened to \"Anything Can Happen\") is the second physical single, and third overall, by Enter Shikari and the second single to be released from their debut album Take to the Skies. It was released on 18 February 2007 for digital download and on 5 March 2007 on both CD and 7\" vinyl. It is the band's highest charting single, charting at #27 in the UK single chart, and number 1 on the UK indie chart. There are two remixes of the song, Colon Open Bracket Remix and Grayedout Mix. Both are up for download on their official download store.\n\nTrack listing\n\n CD\n \"Anything Can Happen in the Next Half Hour...\" (Rou, Enter Shikari) - 4:40\n \"Kickin' Back on the Surface of Your Cheek\" (Rou, Enter Shikari) - 3:50\n \"Keep It on Ice\" (Rou) - 2:51\n\n 7\"\n\n \"Anything Can Happen in the Next Half Hour...\" (Rou, Enter Shikari) - 4:40\n \"Kickin' Back on the Surface of Your Cheek\" (Rou, Enter Shikari) - 3:50\n\nOriginal version\nIn the original version of the song, a sample is heard from the introduction of the popular 1960s TV series Stingray in which the character says \"Anything can happen in the next half hour\". This is, however, not heard in the re-recorded version.\n\nChart performance\n\nPersonnel\n\nEnter Shikari\nRoughton \"Rou\" Reynolds - vocals, electronics\nLiam \"Rory\" Clewlow - guitar\nChris Batten - bass, vocals\nRob Rolfe - drums\nProduction\nEnter Shikari - production\nJohn Mitchell - recording\nBen Humphreys - recording\nMartin Giles - mastering\nKeaton Henson - illustration, design\n\nReferences\n\nExternal links\n Video - \"Anything Can Happen in the Next Half Hour...\" video.\n Original Video - Original video using the 2004 EP version of the song.\n Stingray Introduction - The phrase can be heard at 0:44\n\n2007 singles\nEnter Shikari songs\nSong articles missing an audio sample\n2007 songs" ]
[ "Virginia Woolf", "Talland House (1882-1894)", "what is talland house?", "a large white house in St. Ives, Cornwall,", "what happened at this house?", "it was the highlight of the year, and Virginia's most vivid childhood memories", "did anything tragic happen?", "I don't know." ]	C_8596d9535fe94e95907f37d55beb6a03_1	what else happened at the house?	4	what else happened at talland house besides Virginia Woolf's most vivid childhood memories?	Virginia Woolf	Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St. Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen's leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882-1894) at St. Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed "My Julia was of course, though with all due reserve, a bit of a matchmaker". While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than their mother's at Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden ... The sound of the sea at night ... almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). CANNOTANSWER	Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking	Adeline Virginia Woolf (; ; 25 January 1882 28 March 1941) was an English writer, considered one of the most important modernist 20th-century authors and a pioneer in the use of stream of consciousness as a narrative device. Woolf was born into an affluent household in South Kensington, London, the seventh child of Julia Prinsep Jackson and Leslie Stephen in a blended family of eight which included the modernist painter Vanessa Bell. She was home-schooled in English classics and Victorian literature from a young age. From 1897 to 1901, she attended the Ladies' Department of King's College London, where she studied classics and history and came into contact with early reformers of women's higher education and the women's rights movement. Encouraged by her father, Woolf began writing professionally in 1900. After her father's death in 1904, the Stephen family moved from Kensington to the more bohemian Bloomsbury, where, in conjunction with the brothers' intellectual friends, they formed the artistic and literary Bloomsbury Group. In 1912, she married Leonard Woolf, and in 1917, the couple founded the Hogarth Press, which published much of her work. They rented a home in Sussex and moved there permanently in 1940. Woolf had romantic relationships with women, including Vita Sackville-West, who also published her books through Hogarth Press. Both women's literature became inspired by their relationship, which lasted until Woolf's death. During the inter-war period, Woolf was an important part of London's literary and artistic society. In 1915, she had published her first novel, The Voyage Out, through her half-brother's publishing house, Gerald Duckworth and Company. Her best-known works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928). She is also known for her essays, including A Room of One's Own (1929). Woolf became one of the central subjects of the 1970s movement of feminist criticism and her works have since attracted much attention and widespread commentary for "inspiring feminism". Her works have been translated into more than 50 languages. A large body of literature is dedicated to her life and work, and she has been the subject of plays, novels and films. Woolf is commemorated today by statues, societies dedicated to her work and a building at the University of London. Throughout her life, Woolf was troubled by mental illness. She was institutionalised several times and attempted suicide at least twice. According to Dalsimer (2004) her illness was characterized by symptoms that today would be diagnosed as bipolar disorder, for which there was no effective intervention during her lifetime. In 1941, at age 59, Woolf died by drowning herself in the River Ouse at Lewes. Life Family of origin Virginia Woolf was born Adeline Virginia Stephen on 25 January 1882 at 22 Hyde Park Gate in South Kensington, London, to Julia (née Jackson) (1846–1895) and Leslie Stephen (1832–1904), writer, historian, essayist, biographer and mountaineer. Julia Jackson was born in 1846 in Calcutta, British India, to John Jackson and Maria "Mia" Theodosia Pattle, from two Anglo-Indian families. John Jackson FRCS was the third son of George Jackson and Mary Howard of Bengal, a physician who spent 25 years with the Bengal Medical Service and East India Company and a professor at the fledgling Calcutta Medical College. While John Jackson was an almost invisible presence, the Pattle family were famous beauties, and moved in the upper circles of Bengali society. The seven Pattle sisters married into important families. Julia Margaret Cameron was a celebrated photographer, while Virginia married Earl Somers, and their daughter, Julia Jackson's cousin, was Lady Henry Somerset, the temperance leader. Julia moved to England with her mother at the age of two and spent much of her early life with another of her mother's sisters, Sarah Monckton Pattle. Sarah and her husband Henry Thoby Prinsep, conducted an artistic and literary salon at Little Holland House where she came into contact with a number of Pre-Raphaelite painters such as Edward Burne-Jones, for whom she modelled. Julia was the youngest of three sisters, and Adeline Virginia was named after her mother's eldest sister Adeline Maria Jackson (1837–1881) and her mother's aunt Virginia Pattle (see Pattle family tree). Because of the tragedy of her aunt Adeline's death the previous year, the family never used Virginia's first name. The Jacksons were a well educated, literary and artistic proconsular middle-class family. In 1867, Julia Jackson married Herbert Duckworth, a barrister, but within three years was left a widow with three infant children. She was devastated and entered a prolonged period of mourning, abandoning her faith and turning to nursing and philanthropy. Julia and Herbert Duckworth had three children: George (5 March 1868 – 27 April 1934), a senior civil servant, married Lady Margaret Herbert in 1904 Stella (30 May 1869 – 19 July 1897), died aged 28 Gerald (29 October 1870 – 28 September 1937), founder of Duckworth Publishing, married Cecil Alice Scott-Chad in 1921 Leslie Stephen was born in 1832 in South Kensington to Sir James and Lady Jane Catherine Stephen (née Venn), daughter of John Venn, rector of Clapham. The Venns were the centre of the evangelical Clapham Sect. Sir James Stephen was the under secretary at the Colonial Office, and with another Clapham member, William Wilberforce, was responsible for the passage of the Slavery Abolition Bill in 1833. In 1849 he was appointed Regius Professor of Modern History at Cambridge University. As a family of educators, lawyers, and writers the Stephens represented the elite intellectual aristocracy. While his family were distinguished and intellectual, they were less colourful and aristocratic than Julia Jackson's. A graduate and fellow of Cambridge University he renounced his faith and position to move to London where he became a notable man of letters. In addition, he was a rambler and mountaineer, described as a "gaunt figure with the ragged red brown beard...a formidable man, with an immensely high forehead, steely-blue eyes, and a long pointed nose." In the same year as Julia Jackson's marriage, he wed Harriet Marian (Minny) Thackeray (1840–1875), youngest daughter of William Makepeace Thackeray, who bore him a daughter, Laura (1870–1945), but died in childbirth in 1875. Laura was developmentally disabled and eventually institutionalised. The widowed Julia Duckworth knew Leslie Stephen through her friendship with Minny's elder sister Anne (Anny) Isabella Ritchie and had developed an interest in his agnostic writings. She was present the night Minny died and later, tended to Leslie Stephen and helped him move next door to her on Hyde Park Gate so Laura could have some companionship with her own children. Both were preoccupied with mourning and although they developed a close friendship and intense correspondence, agreed it would go no further. Leslie Stephen proposed to her in 1877, an offer she declined, but when Anny married later that year she accepted him and they were married on 26 March 1878. He and Laura then moved next door into Julia's house, where they lived till his death in 1904. Julia was 32 and Leslie was 46. Their first child, Vanessa, was born on 30 May 1879. Julia, having presented her husband with a child and now having five children to care for, decided to limit her family's growth. However, despite the fact that the couple took "precautions", "contraception was a very imperfect art in the nineteenth century": it resulted in the birth of three more children over the next four years. 22 Hyde Park Gate (1882–1904) 1882–1895 Virginia Woolf provides insight into her early life in her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921), and A Sketch of the Past (1940). Other essays that provide insight into this period include Leslie Stephen (1932). She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure of her mother becomes more nuanced and filled in. In February 1891, with her sister Vanessa, Woolf began the Hyde Park Gate News, chronicling life and events within the Stephen family, and modelled on the popular magazine Tit-Bits. Initially, this was mainly Vanessa's and Thoby's articles, but very soon Virginia became the main contributor, with Vanessa as editor. Their mother's response when it first appeared was "Rather clever I think". Virginia would run the Hyde Park Gate News until 1895, the time of her mother's death. The following year the Stephen sisters also used photography to supplement their insights, as did Stella Duckworth. Vanessa Bell's 1892 portrait of her sister and parents in the Library at Talland House (see image) was one of the family's favourites and was written about lovingly in Leslie Stephen's memoir. In 1897 ("the first really lived year of my life)" Virginia began her first diary, which she kept for the next twelve years, and a notebook in 1909. Virginia was, as she describes it, "born into a large connection, born not of rich parents, but of well-to-do parents, born into a very communicative, literate, letter writing, visiting, articulate, late nineteenth century world." It was a well-connected family consisting of six children, with two half brothers and a half sister (the Duckworths, from her mother's first marriage), another half sister, Laura (from her father's first marriage), and an older sister, Vanessa, and brother Thoby. The following year, another brother Adrian followed. The disabled Laura Stephen lived with the family until she was institutionalised in 1891. Julia and Leslie had four children together: Vanessa "Nessa" (30 May 1879 – 1961), married Clive Bell in 1907 Thoby (9 September 1880 – 1906), founded Bloomsbury Group Virginia "Jinny"/"Ginia" (25 January 1882 – 1941), married Leonard Woolf in 1912 Adrian (27 October 1883 – 1948), married Karin Costelloe in 1914 Virginia was born at 22 Hyde Park Gate and lived there until her father's death in 1904. Number 22 Hyde Park Gate, South Kensington, lay at the south-east end of Hyde Park Gate, a narrow cul-de-sac running south from Kensington Road, just west of the Royal Albert Hall, and opposite Kensington Gardens and Hyde Park, where the family regularly took their walks (see Map; Street plan). Built in 1846 by Henry Payne of Hammersmith as one of a row of single-family townhouses for the upper middle class, it soon became too small for their expanding family. At the time of their marriage, it consisted of a basement, two storeys, and an attic. In July 1886 Leslie Stephen obtained the services of J. W. Penfold, an architect, to add additional living space above and behind the existing structure. The substantial renovations added a new top floor (see image of red brick extension), with three bedrooms and a study for himself, converted the original attic into rooms, and added the first bathroom. It was a tall but narrow townhouse, that at that time had no running water. Virginia would later describe it as "a very tall house on the left-hand side near the bottom which begins by being stucco and ends by being red brick; which is so high and yet—as I can say now that we have sold it—so rickety that it seems as if a very high wind would topple it over." The servants worked "downstairs" in the basement. The ground floor had a drawing room, separated by a curtain from the servant's pantry and a library. Above this on the first floor were Julia and Leslie's bedrooms. On the next floor were the Duckworth children's rooms, and above them, the day and night nurseries of the Stephen children occupied two further floors. Finally, in the attic, under the eaves, were the servants' bedrooms, accessed by a back staircase. Life at 22 Hyde Park Gate was also divided symbolically; as Virginia put it, "The division in our lives was curious. Downstairs there was pure convention: upstairs pure intellect. But there was no connection between them", the worlds typified by George Duckworth and Leslie Stephen. Their mother, it seems, was the only one who could span this divide. The house was described as dimly lit and crowded with furniture and paintings. Within it, the younger Stephens formed a close-knit group. Despite this, the children still held their grievances. Virginia envied Adrian for being their mother's favourite. Virginia and Vanessa's status as creatives (writing and art respectively) caused a rivalry between them at times. Life in London differed sharply from their summers in Cornwall, their outdoor activities consisting mainly of walks in nearby Kensington Gardens, where they would play hide-and-seek and sail their boats on the Round Pond, while indoors, it revolved around their lessons. Leslie Stephen's eminence as an editor, critic, and biographer, and his connection to William Thackeray, meant his children were raised in an environment filled with the influences of a Victorian literary society. Henry James, George Henry Lewes, Alfred Lord Tennyson, Thomas Hardy, Edward Burne-Jones, and Virginia's honorary godfather, James Russell Lowell, were among the visitors to the house. Julia Stephen was equally well connected. Her aunt was a pioneering early photographer, Julia Margaret Cameron, who was also a visitor to the Stephen household. The two Stephen sisters, Vanessa and Virginia, were almost three years apart in age. Virginia christened her older sister "the saint" and was far more inclined to exhibit her cleverness than her more reserved sister. Virginia resented the domesticity Victorian tradition forced on them far more than her sister. They also competed for Thoby's affections. Virginia would later confess her ambivalence over this rivalry to Duncan Grant in 1917: "indeed one of the concealed worms of my life has been a sister's jealousy – of a sister I mean; and to feed this I have invented such a myth about her that I scarce know one from t'other." Virginia showed an early affinity for writing. Although both parents disapproved of formal education for females, writing was considered a respectable profession for women, and her father encouraged her in this respect. Later, she would describe this as "ever since I was a little creature, scribbling a story in the manner of Hawthorne on the green plush sofa in the drawing room at St. Ives while the grown-ups dined". By the age of five, she was writing letters and could tell her father a story every night. Later, she, Vanessa, and Adrian would develop the tradition of inventing a serial about their next-door neighbours, every night in the nursery, or in the case of St. Ives, of spirits that resided in the garden. It was her fascination with books that formed the strongest bond between her and her father. For her tenth birthday, she received an ink-stand, a blotter, drawing book and a box of writing implements. Talland House (1882–1894) Leslie Stephen was in the habit of hiking in Cornwall, and in the spring of 1881 he came across a large white house in St Ives, Cornwall, and took out a lease on it that September. Although it had limited amenities, its main attraction was the view overlooking Porthminster Bay towards the Godrevy Lighthouse, which the young Virginia could see from the upper windows and was to be the central figure in her To the Lighthouse (1927). It was a large square house, with a terraced garden, divided by hedges, sloping down towards the sea. Each year between 1882 and 1894 from mid-July to mid-September the Stephen family leased Talland House as a summer residence. Leslie Stephen, who referred to it thus: "a pocket-paradise", described it as "The pleasantest of my memories... refer to our summers, all of which were passed in Cornwall, especially to the thirteen summers (1882–1894) at St Ives. There we bought the lease of Talland House: a small but roomy house, with a garden of an acre or two all up and down hill, with quaint little terraces divided by hedges of escallonia, a grape-house and kitchen-garden and a so-called 'orchard' beyond". It was in Leslie's words, a place of "intense domestic happiness". Virginia herself described the house in great detail: In both London and Cornwall, Julia was perpetually entertaining, and was notorious for her manipulation of her guests' lives, constantly matchmaking in the belief everyone should be married, the domestic equivalence of her philanthropy. As her husband observed, "My Julia was of course, though with all due reserve, a bit of a matchmaker." Amongst their guests in 1893 were the Brookes, whose children, including Rupert Brooke, played with the Stephen children. Rupert and his group of Cambridge Neo-pagans would come to play an important role in their lives in the years before the First World War. While Cornwall was supposed to be a summer respite, Julia Stephen soon immersed herself in the work of caring for the sick and poor there, as well as in London. Both at Hyde Park Gate and Talland House, the family mingled with much of the country's literary and artistic circles. Frequent guests included literary figures such as Henry James and George Meredith, as well as James Russell Lowell, and the children were exposed to much more intellectual conversations than at their mother's Little Holland House. The family did not return, following Julia Stephen's death in May 1895. For the children, it was the highlight of the year, and Virginia's most vivid childhood memories were not of London but of Cornwall. In a diary entry of 22 March 1921, she described why she felt so connected to Talland House, looking back to a summer day in August 1890. "Why am I so incredibly and incurably romantic about Cornwall? One's past, I suppose; I see children running in the garden … The sound of the sea at night … almost forty years of life, all built on that, permeated by that: so much I could never explain". Cornwall inspired aspects of her work, in particular the "St Ives Trilogy" of Jacob's Room (1922), To the Lighthouse (1927), and The Waves (1931). 1895–1904 Julia Stephen fell ill with influenza in February 1895, and never properly recovered, dying on 5 May, when Virginia was 13. It was a pivotal moment in her life and the beginning of her struggles with mental illness. Essentially, her life had fallen apart. The Duckworths were travelling abroad at the time of their mother's death, and Stella returned immediately to take charge and assume her role. That summer, rather than return to the memories of St Ives, the Stephens went to Freshwater, Isle of Wight, where some of their mother's relatives lived. It was there that Virginia had the first of her many nervous breakdowns, and Vanessa was forced to assume some of her mother's role in caring for Virginia's mental state. Stella became engaged to Jack Hills the following year and they were married on 10 April 1897, making Virginia even more dependent on her older sister. George Duckworth also assumed some of their mother's role, taking upon himself the task of bringing them out into society. First Vanessa, then Virginia, in both cases an equal disaster, for it was not a rite of passage that resonated with either girl and attracted a scathing critique by Virginia regarding the conventional expectations of young upper-class women: "Society in those days was a perfectly competent, perfectly complacent, ruthless machine. A girl had no chance against its fangs. No other desires – say to paint, or to write – could be taken seriously". Rather her priorities were to escape from the Victorian conventionality of the downstairs drawing room to a "room of one's own" to pursue her writing aspirations. She would revisit this criticism in her depiction of Mrs. Ramsay stating the duties of a Victorian mother in To the Lighthouse "an unmarried woman has missed the best of life". The death of Stella Duckworth on 19 July 1897, after a long illness, was a further blow to Virginia's sense of self, and the family dynamics. Woolf described the period following the death of both her mother and Stella as "1897–1904 – the seven unhappy years", referring to "the lash of a random unheeding flail that pointlessly and brutally killed the two people who should, normally and naturally, have made those years, not perhaps happy but normal and natural". In April 1902, their father became ill, and although he underwent surgery later that year he never fully recovered, dying on 22 February 1904. Virginia's father's death precipitated a further breakdown. Later, Virginia would describe this time as one in which she was dealt successive blows as a "broken chrysalis" with wings still creased. Chrysalis occurs many times in Woolf's writing but the "broken chrysalis" was an image that became a metaphor for those exploring the relationship between Woolf and grief. At his death, Leslie Stephen's net worth was £15,715 6s. 6d. (probate 23 March 1904) Education In the late 19th century, education was sharply divided along gender lines, a tradition that Virginia would note and condemn in her writing. Boys were sent to school, and in upper-middle-class families such as the Stephens, it involved private boys schools, often boarding schools, and university. Girls, if they were afforded the luxury of education, received it from their parents, governesses, and tutors. Virginia was educated by her parents who shared the duty. There was a small classroom off the back of the drawing room, with its many windows, which they found perfect for quiet writing and painting. Julia taught the children Latin, French, and history, while Leslie taught them mathematics. They also received piano lessons. Supplementing their lessons was the children's unrestricted access to Leslie Stephen's vast library, exposing them to much of the literary canon, resulting in a greater depth of reading than any of their Cambridge contemporaries, Virginia's reading being described as "greedy". Later, she would recall After public school, the boys in the family all attended Cambridge University. The girls derived some indirect benefit from this, as the boys introduced them to their friends. Another source was the conversation of their father's friends, to whom they were exposed. Leslie Stephen described his circle as "most of the literary people of mark...clever young writers and barristers, chiefly of the radical persuasion...we used to meet on Wednesday and Sunday evenings, to smoke and drink and discuss the universe and the reform movement". Later, between the ages of 15 and 19, Virginia was able to pursue higher education. She took courses of study, some at degree level, in beginning and advanced Ancient Greek, intermediate Latin and German, together with continental and English history at the Ladies' Department of King's College London at nearby 13 Kensington Square between 1897 and 1901. She studied Greek under the eminent scholar George Charles Winter Warr, professor of Classical Literature at King's. In addition she had private tutoring in German, Greek, and Latin. One of her Greek tutors was Clara Pater (1899–1900), who taught at King's. Another was Janet Case, who involved her in the women's rights movement, and whose obituary Virginia would later write in 1937. Her experiences led to her 1925 essay "On Not Knowing Greek". Her time at King's also brought her into contact with some of the early reformers of women's higher education such as the principal of the Ladies' Department, Lilian Faithfull (one of the so-called steamboat ladies), in addition to Pater. Her sister Vanessa also enrolled at the Ladies' Department (1899–1901). Although the Stephen girls could not attend Cambridge, they were to be profoundly influenced by their brothers' experiences there. When Thoby went to Trinity in 1899, he befriended a circle of young men, including Clive Bell, Lytton Strachey, Leonard Woolf (whom Virginia would later marry), and Saxon Sydney-Turner, whom he would soon introduce to his sisters at the Trinity May Ball in 1900. These men formed a reading group they named the Midnight Society. Relationships with family Although Virginia expressed the opinion her father was her favourite parent, and although she had only turned thirteen when her mother died, she was profoundly influenced by her mother throughout her life. It was Virginia who famously stated that "for we think back through our mothers if we are women", and invoked the image of her mother repeatedly throughout her life in her diaries, her letters and a number of her autobiographical essays, including Reminiscences (1908), 22 Hyde Park Gate (1921) and A Sketch of the Past (1940), frequently evoking her memories with the words "I see her ...". She also alludes to her childhood in her fictional writing. In To the Lighthouse (1927), the artist, Lily Briscoe, attempts to paint Mrs. Ramsay, a complex character based on Julia Stephen, and repeatedly comments on the fact that she was "astonishingly beautiful". Her depiction of the life of the Ramsays in the Hebrides is an only thinly disguised account of the Stephens in Cornwall and the Godrevy Lighthouse they would visit there. However, Woolf's understanding of her mother and family evolved considerably between 1907 and 1940, in which the somewhat distant, yet revered figure becomes more nuanced and complete. While her father painted Julia Stephen's work in terms of reverence, Woolf drew a sharp distinction between her mother's work and "the mischievous philanthropy which other women practise so complacently and often with such disastrous results." She describes her degree of sympathy, engagement, judgement, and decisiveness, and her sense of both irony and the absurd. She recalls trying to recapture "the clear round voice, or the sight of the beautiful figure, so upright and distinct, in its long shabby cloak, with the head held at a certain angle, so that the eye looked straight out at you." Julia Stephen dealt with her husband's depressions and his need for attention, which created resentment in her children, boosted his self-confidence, nursed her parents in their final illness, and had many commitments outside the home that would eventually wear her down. Her frequent absences and the demands of her husband instilled a sense of insecurity in her children that had a lasting effect on her daughters. In considering the demands on her mother, Woolf described her father as "fifteen years her elder, difficult, exacting, dependent on her," and reflected that it was at the expense of the amount of attention she could spare her young children: "a general presence rather than a particular person to a child." She reflected that she rarely ever spent a moment alone with her mother: "someone was always interrupting." Woolf was ambivalent about it, yet eager to separate herself from this model of utter selflessness. In To the Lighthouse, she describes it as "boasting of her capacity to surround and protect, there was scarcely a shell of herself left for her to know herself by; all was so lavished and spent." At the same time, she admired the strengths of her mother's womanly ideals. Given Julia's frequent absences and commitments, the young Stephen children became increasingly dependent on Stella Duckworth, who emulated her mother's selflessness; as Woolf wrote, "Stella was always the beautiful attendant handmaid ... making it the central duty of her life." Julia Stephen greatly admired her husband's intellect. As Woolf observed "she never belittled her own works, thinking them, if properly discharged, of equal, though other, importance with her husband's." She believed with certainty in her role as the centre of her activities, and the person who held everything together, with a firm sense of what was important and valuing devotion. Of the two parents, Julia's "nervous energy dominated the family". While Virginia identified most closely with her father, Vanessa stated her mother was her favourite parent. Angelica Garnett recalls how Virginia asked Vanessa which parent she preferred, although Vanessa considered it a question that "one ought not to ask", she was unequivocal in answering "Mother" yet the centrality of her mother to Virginia's world is expressed in this description of her "Certainly there she was, in the very centre of that great Cathedral space which was childhood; there she was from the very first". Virginia observed that her half-sister, Stella, the oldest daughter, led a life of total subservience to her mother, incorporating her ideals of love and service. Virginia quickly learned, that like her father, being ill was the only reliable way of gaining the attention of her mother, who prided herself on her sickroom nursing. Another issue the children had to deal with was Leslie Stephen's temper, Woolf describing him as "the tyrant father". Eventually, she became deeply ambivalent about him. He had given her his ring on her eighteenth birthday and she had a deep emotional attachment as his literary heir, writing about her "great devotion for him". Yet, like Vanessa, she also saw him as victimiser and tyrant. She had a lasting ambivalence towards him through her life, albeit one that evolved. Her adolescent image was of an "Eminent Victorian" and tyrant but as she grew older she began to realise how much of him was in her: "I have been dipping into old letters and father's memoirs....so candid and reasonable and transparent—and had such a fastidious delicate mind, educated, and transparent," she wrote 22 December 1940. She was in turn both fascinated and condemnatory of Leslie Stephen: "She [her mother] has haunted me: but then, so did that old wretch my father. . . . I was more like him than her, I think; and therefore more critical: but he was an adorable man, and somehow, tremendous." Sexual abuse Woolf stated that she first remembers being molested by Gerald Duckworth when she was six years old. It has been suggested that this led to a lifetime of sexual fear and resistance to masculine authority. Against a background of over-committed and distant parents, suggestions that this was a dysfunctional family must be evaluated. These include evidence of sexual abuse of the Stephen girls by their older Duckworth half-brothers, and by their cousin, James Kenneth Stephen (1859–1892), at least of Stella Duckworth. Laura is also thought to have been abused. The most graphic account is by Louise DeSalvo, but other authors and reviewers have been more cautious. Virginia's accounts of being continually sexually abused during the time that she lived at 22 Hyde Park Gate, have been cited by some critics as a possible cause of her mental health issues, although there are likely to be a number of contributing factors. Lee states that, "The evidence is strong enough, and yet ambiguous enough, to open the way for conflicting psychobiographical interpretations that draw quite different shapes of Virginia Woolf's interior life". Bloomsbury (1904–1940) Gordon Square (1904–1907) On their father's death, the Stephens' first instinct was to escape from the dark house of yet more mourning, and this they did immediately, accompanied by George, travelling to Manorbier, on the coast of Pembrokeshire on 27 February. There, they spent a month, and it was there that Virginia first came to realise her destiny was as a writer, as she recalls in her diary of 3 September 1922. They then further pursued their newfound freedom by spending April in Italy and France, where they met up with Clive Bell again. Virginia then suffered her second nervous breakdown, and first suicidal attempt on 10 May, and convalesced over the next three months. Before their father died, the Stephens had discussed the need to leave South Kensington in the West End, with its tragic memories and their parents' relations. George Duckworth was 35, his brother Gerald 33. The Stephen children were now between 24 and 20. Virginia was 22. Vanessa and Adrian decided to sell 22 Hyde Park Gate in respectable South Kensington and move to Bloomsbury. Bohemian Bloomsbury, with its characteristic leafy squares seemed sufficiently far away, geographically and socially, and was a much cheaper neighbourhood rentwise. They had not inherited much and they were unsure about their finances. Also, Bloomsbury was close to the Slade School which Vanessa was then attending. While Gerald was quite happy to move on and find himself a bachelor establishment, George who had always assumed the role of quasi-parent decided to accompany them, much to their dismay. It was then that Lady Margaret Herbert appeared on the scene, George proposed, was accepted and married in September, leaving the Stephens to their own devices. Vanessa found a house at 46 Gordon Square in Bloomsbury, and they moved in November, to be joined by Virginia now sufficiently recovered. It was at Gordon Square that the Stephens began to regularly entertain Thoby's intellectual friends in March 1905. The circle, which largely came from the Cambridge Apostles, included writers (Saxon Sydney-Turner, Lytton Strachey) and critics (Clive Bell, Desmond MacCarthy) with Thursday evening "At Homes" that became known as the Thursday Club, a vision of recreating Trinity College ("Cambridge in London"). This circle formed the nucleus of the intellectual circle of writers and artists known as the Bloomsbury Group. Later, it would include John Maynard Keynes (1907), Duncan Grant (1908), E.M. Forster (1910), Roger Fry (1910), Leonard Woolf (1911), and David Garnett (1914). In 1905, Virginia and Adrian visited Portugal and Spain. Clive Bell proposed to Vanessa, but was declined, while Virginia began teaching evening classes at Morley College and Vanessa added another event to their calendar with the Friday Club, dedicated to the discussion of and later exhibition of the fine arts. This introduced some new people into their circle, including Vanessa's friends from the Royal Academy and Slade, such as Henry Lamb and Gwen Darwin (who became secretary), but also the eighteen-year-old Katherine Laird ("Ka") Cox (1887–1938), who was about to go up to Newnham. Although Virginia did not actually meet Ka until much later, Ka would come to play an important part in her life. Ka and others brought the Bloomsbury Group into contact with another, slightly younger, group of Cambridge intellectuals to whom the Stephen sisters gave the name "Neo-pagans". The Friday Club continued until 1913. The following year, 1906, Virginia suffered two further losses. Her cherished brother Thoby, who was only 26, died of typhoid, following a trip they had all taken to Greece, and immediately afterward Vanessa accepted Clive's third proposal. Vanessa and Clive were married in February 1907 and as a couple, their interest in avant-garde art would have an important influence on Woolf's further development as an author. With Vanessa's marriage, Virginia and Adrian needed to find a new home. Fitzroy Square (1907–1911) Virginia moved into 29 Fitzroy Square in April 1907, a house on the west side of the street, formerly occupied by George Bernard Shaw. It was in Fitzrovia, immediately to the west of Bloomsbury but still relatively close to her sister at Gordon Square. The two sisters continued to travel together, visiting Paris in March. Adrian was now to play a much larger part in Virginia's life, and they resumed the Thursday Club in October at their new home, while Gordon Square became the venue for the Play Reading Society in December. During this period, the group began to increasingly explore progressive ideas, first in speech, and then in conduct, Vanessa proclaiming in 1910 a libertarian society with sexual freedom for all. Meanwhile, Virginia began work on her first novel, Melymbrosia, that eventually became The Voyage Out (1915). Vanessa's first child, Julian was born in February 1908, and in September Virginia accompanied the Bells to Italy and France. It was during this time that Virginia's rivalry with her sister resurfaced, flirting with Clive, which he reciprocated, and which lasted on and off from 1908 to 1914, by which time her sister's marriage was breaking down. On 17 February 1909, Lytton Strachey proposed to Virginia and she accepted, but he then withdrew the offer. It was while she was at Fitzroy Square that the question arose of Virginia needing a quiet country retreat, and she required a six-week rest cure and sought the countryside away from London as much as possible. In December, she and Adrian stayed at Lewes and started exploring the area of Sussex around the town. She started to want a place of her own, like St Ives, but closer to London. She soon found a property in nearby Firle (see below), maintaining a relationship with that area for the rest of her life. Dreadnought hoax 1910 Several members of the group attained notoriety in 1910 with the Dreadnought hoax, which Virginia participated in disguised as a male Abyssinian royal. Her complete 1940 talk on the hoax was discovered and is published in the memoirs collected in the expanded edition of The Platform of Time (2008). Brunswick Square (1911–1912) In October 1911, the lease on Fitzroy Square was running out and Virginia and Adrian decided to give up their home on Fitzroy Square in favour of a different living arrangement, moving to a four-storied house at 38 Brunswick Square in Bloomsbury proper in November. Virginia saw it as a new opportunity: "We are going to try all kinds of experiments," she told Ottoline Morrell. Adrian occupied the second floor, with Maynard Keynes and Duncan Grant sharing the ground floor. This arrangement for a single woman was considered scandalous, and George Duckworth was horrified. The house was adjacent to the Foundling Hospital, much to Virginia's amusement as an unchaperoned single woman. Originally, Ka Cox was supposed to share in the arrangements, but opposition came from Rupert Brooke, who was involved with her and pressured her to abandon the idea. At the house, Duncan Grant decorated Adrian Stephen's rooms (see image). Marriage (1912–1941) Leonard Woolf was one of Thoby Stephen's friends at Trinity College, Cambridge, and noticed the Stephen sisters in Thoby's rooms there on their visits to the May Ball in 1900 and 1901. He recalls them in "white dresses and large hats, with parasols in their hands, their beauty literally took one's breath away". To him, they were silent, "formidable and alarming". Woolf did not meet Virginia formally till 17 November 1904 when he dined with the Stephens at Gordon Square, to say goodbye before leaving to take up a position with the civil service in Ceylon, although she was aware of him through Thoby's stories. At that visit he noted that she was perfectly silent throughout the meal, and looked ill. In 1909, Lytton Strachey suggested to Woolf he should make her an offer of marriage. He did so, but received no answer. In June 1911, he returned to London on a one-year leave, but did not go back to Ceylon. In England again, Leonard renewed his contacts with family and friends. Three weeks after arriving he dined with Vanessa and Clive Bell at Gordon Square on 3 July, where they were later joined by Virginia and other members of what would later be called "Bloomsbury", and Leonard dates the group's formation to that night. In September, Virginia asked Leonard to join her at Little Talland House at Firle in Sussex for a long weekend. After that weekend, they began seeing each other more frequently. On 4 December 1911, Leonard moved into the ménage on Brunswick Square, occupying a bedroom and sitting room on the fourth floor, and started to see Virginia constantly and by the end of the month had decided he was in love with her. On 11 January 1912, he proposed to her; she asked for time to consider, so he asked for an extension of his leave and, on being refused, offered his resignation on 25 April, effective 20 May. He continued to pursue Virginia, and in a letter of 1 May 1912 (which see) she explained why she did not favour a marriage. However, on 29 May, Virginia told Leonard that she wished to marry him, and they were married on 10 August at the St Pancras Register Office. It was during this time that Leonard first became aware of Virginia's precarious mental state. The Woolfs continued to live at Brunswick Square until October 1912, when they moved to a small flat at 13 Clifford's Inn, further to the east (subsequently demolished). Despite his low material status (Woolf referring to Leonard during their engagement as a "penniless Jew"), the couple shared a close bond. Indeed, in 1937, Woolf wrote in her diary: "Love-making—after 25 years can't bear to be separate ... you see it is enormous pleasure being wanted: a wife. And our marriage so complete." However, Virginia made a suicide attempt in 1913. In October 1914, Leonard and Virginia Woolf moved away from Bloomsbury and central London to Richmond, living at 17 The Green, a home discussed by Leonard in his autobiography Beginning Again (1964). In early March 1915, the couple moved again, to nearby Hogarth House, Paradise Road, after which they named their publishing house. Virginia's first novel, The Voyage Out was published in 1915, followed by another suicide attempt. Despite the introduction of conscription in 1916, Leonard was exempted on medical grounds. Between 1924 and 1940, the Woolfs returned to Bloomsbury, taking out a ten-year lease at 52 Tavistock Square, from where they ran the Hogarth Press from the basement, where Virginia also had her writing room, and is commemorated with a bust of her in the square (see illustration). 1925 saw the publication of Mrs Dalloway in May followed by her collapse while at Charleston in August. In 1927, her next novel, To the Lighthouse, was published, and the following year she lectured on Women & Fiction at Cambridge University and published Orlando in October. Her two Cambridge lectures then became the basis for her major essay A Room of One's Own in 1929. Virginia wrote only one drama, Freshwater, based on her great-aunt Julia Margaret Cameron, and produced at her sister's studio on Fitzroy Street in 1935. 1936 saw another collapse of her health following the completion of The Years. The Woolf's final residence in London was at 37 Mecklenburgh Square (1939–1940), destroyed during the Blitz in September 1940; a month later their previous home on Tavistock Square was also destroyed. After that, they made Sussex their permanent home. For descriptions and illustrations of all Virginia Woolf's London homes, see Jean Moorcroft Wilson's book Virginia Woolf, Life and London: A Biography of Place (pub. Cecil Woolf, 1987). Hogarth Press (1917–1938) Virginia had taken up book-binding as a pastime in October 1901, at the age of 19, and the Woolfs had been discussing setting up a publishing house for some time, and at the end of 1916 started making plans. Having discovered that they were not eligible to enroll in the St Bride School of Printing, they started purchasing supplies after seeking advice from the Excelsior Printing Supply Company on Farringdon Road in March 1917, and soon they had a printing press set up on their dining room table at Hogarth House, and the Hogarth Press was born. Their first publication was Two Stories in July 1917, inscribed Publication No. 1, and consisted of two short stories, "The Mark on the Wall" by Virginia Woolf and Three Jews by Leonard Woolf. The work consisted of 32 pages, hand bound and sewn, and illustrated by woodcuts designed by Dora Carrington. The illustrations were a success, leading Virginia to remark that the press was "specially good at printing pictures, and we see that we must make a practice of always having pictures." (13 July 1917) The process took two and a half months with a production run of 150 copies. Other short short stories followed, including Kew Gardens (1919) with a woodblock by Vanessa Bell as frontispiece. Subsequently, Bell added further illustrations, adorning each page of the text. The press subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others. The Press also commissioned works by contemporary artists, including Dora Carrington and Vanessa Bell. Woolf believed that to break free of a patriarchal society women writers needed a "room of their own" to develop and often fantasised about an "Outsider's Society" where women writers would create a virtual private space for themselves via their writings to develop a feminist critique of society. Though Woolf never created the "Outsider's society", the Hogarth Press was the closest approximation as the Woolfs chose to publish books by writers that took unconventional points of view to form a reading community. Initially the press concentrated on small experimental publications, of little interest to large commercial publishers. Until 1930, Woolf often helped her husband print the Hogarth books as the money for employees was not there. Virginia relinquished her interest in 1938, following a third attempted suicide. After it was bombed in September 1940, the press was moved to Letchworth for the remainder of the war. Both the Woolfs were internationalists and pacifists who believed that promoting understanding between peoples was the best way to avoid another world war and chose quite consciously to publish works by foreign authors of whom the British reading public were unaware. The first non-British author to be published was the Soviet writer Maxim Gorky, the book Reminiscences of Leo Nikolaiovich Tolstoy in 1920, dealing with his friendship with Count Leo Tolstoy. Memoir Club (1920–1941) 1920 saw a postwar reconstitution of the Bloomsbury Group, under the title of the Memoir Club, which as the name suggests focussed on self-writing, in the manner of Proust's A La Recherche, and inspired some of the more influential books of the 20th century. The Group, which had been scattered by the war, was reconvened by Mary ('Molly') MacCarthy who called them "Bloomsberries", and operated under rules derived from the Cambridge Apostles, an elite university debating society that a number of them had been members of. These rules emphasised candour and openness. Among the 125 memoirs presented, Virginia contributed three that were published posthumously in 1976, in the autobiographical anthology Moments of Being. These were 22 Hyde Park Gate (1921), Old Bloomsbury (1922) and Am I a Snob? (1936). Vita Sackville-West (1922–1941) The ethos of the Bloomsbury group encouraged a liberal approach to sexuality, and on 14 December 1922 Woolf met the writer and gardener Vita Sackville-West, wife of Harold Nicolson, while dining with Clive Bell. Writing in her diary the next day, she referred to meeting "the lovely gifted aristocratic Sackville West". At the time, Sackville-West was the more successful writer as both poet and novelist, commercially and critically, and it was not until after Woolf's death that she became considered the better writer. After a tentative start, they began a sexual relationship, which, according to Sackville-West in a letter to her husband on 17 August 1926, was only twice consummated. The relationship reached its peak between 1925 and 1928, evolving into more of a friendship through the 1930s, though Woolf was also inclined to brag of her affairs with other women within her intimate circle, such as Sibyl Colefax and Comtesse de Polignac. This period of intimacy was to prove fruitful for both authors, Woolf producing three novels, To the Lighthouse (1927), Orlando (1928), and The Waves (1931) as well as a number of essays, including "Mr. Bennett and Mrs. Brown" (1924) and "A Letter to a Young Poet" (1932). Sackville-West worked tirelessly to lift Woolf's self-esteem, encouraging her not to view herself as a quasi-reclusive inclined to sickness who should hide herself away from the world, but rather offered praise for her liveliness and wit, her health, her intelligence and achievements as a writer. Sackville-West led Woolf to reappraise herself, developing a more positive self-image, and the feeling that her writings were the products of her strengths rather than her weakness. Starting at the age of 15, Woolf had believed the diagnosis by her father and his doctor that reading and writing were deleterious to her nervous condition, requiring a regime of physical labour such as gardening to prevent a total nervous collapse. This led Woolf to spend much time obsessively engaging in such physical labour. Sackville-West was the first to argue to Woolf she had been misdiagnosed, and that it was far better to engage in reading and writing to calm her nerves—advice that was taken. Under the influence of Sackville-West, Woolf learned to deal with her nervous ailments by switching between various forms of intellectual activities such as reading, writing and book reviews, instead of spending her time in physical activities that sapped her strength and worsened her nerves. Sackville-West chose the financially struggling Hogarth Press as her publisher to assist the Woolfs financially. Seducers in Ecuador, the first of the novels by Sackville-West published by Hogarth, was not a success, selling only 1500 copies in its first year, but the next Sackville-West novel they published, The Edwardians, was a best-seller that sold 30,000 copies in its first six months. Sackville-West's novels, though not typical of the Hogarth Press, saved Hogarth, taking them from the red into the black. However, Woolf was not always appreciative of the fact that it was Sackville-West's books that kept the Hogarth Press profitable, writing dismissively in 1933 of her "servant girl" novels. The financial security allowed by the good sales of Sackville-West's novels in turn allowed Woolf to engage in more experimental work, such as The Waves, as Woolf had to be cautious when she depended upon Hogarth entirely for her income. In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both sexes. It was published in October, shortly after the two women spent a week travelling together in France, that September. Nigel Nicolson, Vita Sackville-West's son, wrote, "The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her." After their affair ended, the two women remained friends until Woolf's death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of typhoid fever at the age of 26. Sussex (1911–1941) Virginia was needing a country retreat to escape to, and on 24 December 1910, she found a house for rent in Firle, Sussex, near Lewes (see Map). She obtained a lease and took possession of the house the following month, naming it 'Little Talland House', after their childhood home in Cornwall, although it was actually a new red gabled villa on the main street opposite the village hall. The lease was a short one, and in October, she and Leonard Woolf found Asham House at Asheham a few miles to the west, while walking along the Ouse from Firle. The house, at the end of a tree-lined road was a strange beautiful Regency-Gothic house in a lonely location. She described it as "flat, pale, serene, yellow-washed", without electricity or water and allegedly haunted. She took out a five-year lease jointly with Vanessa in the New Year, and they moved into it in February 1912, holding a house warming party on the 9th. It was at Asham that the Woolfs spent their wedding night later that year. At Asham, she recorded the events of the weekends and holidays they spent there in her Asham Diary, part of which was later published as A Writer's Diary in 1953. In terms of creative writing, The Voyage Out was completed there, and much of Night and Day. Asham provided Woolf with well needed relief from the pace of London life and was where she found a happiness that she expressed in her diary of 5 May 1919 "Oh, but how happy we've been at Asheham! It was a most melodious time. Everything went so freely; – but I can't analyse all the sources of my joy". Asham was also the inspiration for A Haunted House (1921–1944), and was painted by members of the Bloomsbury Group, including Vanessa Bell and Roger Fry. It was during these times at Asham that Ka Cox (seen here) started to devote herself to Virginia and become very useful. While at Asham Leonard and Virginia found a farmhouse in 1916, that was to let, about four miles away, which they thought would be ideal for her sister. Eventually, Vanessa came down to inspect it, and moved in in October of that year, taking it as a summer home for her family. The Charleston Farmhouse was to become the summer gathering place for the literary and artistic circle of the Bloomsbury Group. After the end of the war, in 1918, the Woolfs were given a year's notice by the landlord, who needed the house. In mid-1919, "in despair", they purchased "a very strange little house" for £300, the Round House in Pipe Passage, Lewes, a converted windmill. No sooner had they bought the Round House, than Monk's House in nearby Rodmell, came up for auction, a weatherboarded house with oak beamed rooms, said to be 15th or 16th century. The Leonards favoured the latter because of its orchard and garden, and sold the Round House, to purchase Monk's House for £700. Monk's House also lacked water and electricity, but came with an acre of garden, and had a view across the Ouse towards the hills of the South Downs. Leonard Woolf describes this view (and the amenities) as being unchanged since the days of Chaucer. From 1940, it became their permanent home after their London home was bombed, and Virginia continued to live there until her death. Meanwhile, Vanessa made Charleston her permanent home in 1936. It was at Monk's House that Virginia completed Between the Acts in early 1941, followed by a further breakdown directly resulting in her suicide on 28 March 1941, the novel being published posthumously later that year. The Neo-pagans (1911–1912) During her time in Firle, Virginia became better acquainted with Rupert Brooke and his group of Neo-Pagans, pursuing socialism, vegetarianism, exercising outdoors and alternative life styles, including social nudity. They were influenced by the ethos of Bedales, Fabianism and Shelley. The women wore sandals, socks, open neck shirts and head-scarves. Although she had some reservations, Woolf was involved with their activities for a while, fascinated by their bucolic innocence in contrast to the sceptical intellectualism of Bloomsbury, which earned her the nickname "The Goat" from her brother Adrian. While Woolf liked to make much of a weekend she spent with Brooke at the vicarage in Grantchester, including swimming in the pool there, it appears to have been principally a literary assignation. They also shared a psychiatrist in the name of Maurice Craig. Through the Neo-Pagans, she finally met Ka Cox on a weekend in Oxford in January 1911, who had been part of the Friday Club circle and now became her friend and played an important part in dealing with her illnesses. Virginia nicknamed her "Bruin". At the same time, she found herself dragged into a triangular relationship involving Ka, Jacques Raverat and Gwen Darwin. She became resentful of the other couple, Jacques and Gwen, who married later in 1911, not the outcome Virginia had predicted or desired. They would later be referred to in both To the Lighthouse and The Years. The exclusion she felt evoked memories of both Stella Duckworth's marriage and her triangular involvement with Vanessa and Clive. The two groups eventually fell out. Brooke pressured Ka into withdrawing from joining Virginia's ménage on Brunswick Square in late 1911, calling it a "bawdy-house" and by the end of 1912 he had vehemently turned against Bloomsbury. Later, she would write sardonically about Brooke, whose premature death resulted in his idealisation, and express regret about "the Neo-Paganism at that stage of my life". Virginia was deeply disappointed when Ka married William Edward Arnold-Forster in 1918, and became increasingly critical of her. Mental health Much examination has been made of Woolf's mental health (e.g., see Mental health bibliography). From the age of 13, following the death of her mother, Woolf suffered periodic mood swings from severe depression to manic excitement, including psychotic episodes, which the family referred to as her "madness". However, as Hermione Lee points out, Woolf was not "mad"; she was merely a woman who suffered from and struggled with illness for much of her relatively short life, a woman of "exceptional courage, intelligence and stoicism", who made the best use, and achieved the best understanding she could of that illness. Psychiatrists today contend that her illness constitutes bipolar disorder (manic-depressive illness). Her mother's death in 1895, "the greatest disaster that could happen", precipitated a crisis of alternating excitability and depression accompanied by irrational fears, for which their family doctor, Dr. Seton, prescribed rest, stopping lessons and writing, and regular walks supervised by Stella. Yet just two years later, Stella too was dead, bringing on her next crisis in 1897, and her first expressed wish for death at the age of fifteen, writing in her diary that October that "death would be shorter & less painful". She then stopped keeping a diary for some time. This was a scenario she would later recreate in "Time Passes" (To the Lighthouse, 1927). The death of her father in 1904 provoked her most alarming collapse, on 10 May, when she threw herself out a window and she was briefly institutionalised under the care of her father's friend, the eminent psychiatrist George Savage. Savage blamed her education—frowned on by many at the time as unsuitable for women—for her illness. She spent time recovering at the house of Stella's friend Violet Dickinson, and at her aunt Caroline's house in Cambridge, and by January 1905, Dr. Savage considered her "cured". Violet, seventeen years older than Virginia, became one of her closest friends and one of her more effective nurses. She characterised it as a "romantic friendship" (Letter to Violet 4 May 1903). Her brother Thoby's death in 1906 marked a "decade of deaths” that ended her childhood and adolescence. Gordon (2004) writes: "Ghostly voices spoke to her with increasing urgency, perhaps more real than the people who lived by her side. When voices of the dead urged her to impossible things, they drove her mad but, controlled, they became the material of fiction..." On Dr. Savage's recommendation, Virginia spent three short periods in 1910, 1912, and 1913 at Burley House at 15 Cambridge Park, Twickenham (see image), described as "a private nursing home for women with nervous disorder" run by Miss Jean Thomas. By the end of February 1910, she was becoming increasingly restless, and Dr. Savage suggested being away from London. Vanessa rented Moat House, outside Canterbury, in June, but there was no improvement, so Dr. Savage sent her to Burley for a "rest cure". This involved partial isolation, deprivation of literature, and force-feeding, and after six weeks she was able to convalesce in Cornwall and Dorset during the autumn. She loathed the experience; writing to her sister on 28 July, she described how she found the phony religious atmosphere stifling and the institution ugly, and informed Vanessa that to escape "I shall soon have to jump out of a window." The threat of being sent back would later lead to her contemplating suicide. Despite her protests, Savage would refer her back in 1912 for insomnia and in 1913 for depression. On emerging from Burley House in September 1913, she sought further opinions from two other physicians on the 13th: Maurice Wright, and Henry Head, who had been Henry James's physician. Both recommended she return to Burley House. Distraught, she returned home and attempted suicide by taking an overdose of 100 grains of veronal (a barbiturate) and nearly dying: she was found by Ka Cox, who summoned help. On recovery, she went to Dalingridge Hall, George Duckworth's home in East Grinstead, Sussex, to convalesce on 30 September, accompanied by Ka Cox and a nurse, returning to Asham on 18 November with Cox and Janet Case. She remained unstable over the next two years, with another incident involving veronal that she claimed was an "accident", and consulted another psychiatrist in April 1914, Maurice Craig, who explained that she was not sufficiently psychotic to be certified or committed to an institution. The rest of the summer of 1914 went better for her, and they moved to Richmond, but in February 1915, just as The Voyage Out was due to be published, she relapsed once more, and remained in poor health for most of that year. Then, despite Miss Thomas's gloomy prognosis, she began to recover, following 20 years of ill health. Nevertheless, there was a feeling among those around her that she was now permanently changed, and not for the better. Over the rest of her life, she suffered recurrent bouts of depression. In 1940, a number of factors appeared to overwhelm her. Her biography of Roger Fry had been published in July, and she had been disappointed in its reception. The horrors of war depressed her, and their London homes had been destroyed in the Blitz in September and October. Woolf had completed Between the Acts (published posthumously in 1941) in November, and completing a novel was frequently accompanied by exhaustion. Her health became increasingly a matter of concern, culminating in her decision to end her life on 28 March 1941. Though this instability would frequently affect her social life, she was able to continue her literary productivity with few interruptions throughout her life. Woolf herself provides not only a vivid picture of her symptoms in her diaries and letters, but also her response to the demons that haunted her and at times made her long for death: "But it is always a question whether I wish to avoid these glooms... These 9 weeks give one a plunge into deep waters... One goes down into the well & nothing protects one from the assault of truth." Psychiatry had little to offer Woolf, but she recognised that writing was one of the behaviours that enabled her to cope with her illness: "The only way I keep afloat... is by working... Directly I stop working I feel that I am sinking down, down. And as usual, I feel that if I sink further I shall reach the truth." Sinking under water was Woolf's metaphor for both the effects of depression and psychosis— but also for finding truth, and ultimately was her choice of death. Throughout her life, Woolf struggled, without success, to find meaning in her illness: on the one hand, an impediment, on the other, something she visualised as an essential part of who she was, and a necessary condition of her art. Her experiences informed her work, such as the character of Septimus Warren Smith in Mrs Dalloway (1925), who, like Woolf, was haunted by the dead, and ultimately takes his own life rather than be admitted to a sanitorium. Leonard Woolf relates how during the 30 years they were married, they consulted many doctors in the Harley Street area, and although they were given a diagnosis of neurasthenia, he felt they had little understanding of the causes or nature. The proposed solution was simple—as long as she lived a quiet life without any physical or mental exertion, she was well. On the other hand, any mental, emotional, or physical strain resulted in a reappearance of her symptoms, beginning with a headache, followed by insomnia and thoughts that started to race. Her remedy was simple: to retire to bed in a darkened room, eat, and drink plenty of milk, following which the symptoms slowly subsided. Modern scholars, including her nephew and biographer, Quentin Bell, have suggested her breakdowns and subsequent recurring depressive periods were influenced by the sexual abuse which she and her sister Vanessa were subjected to by their half-brothers George and Gerald Duckworth (which Woolf recalls in her autobiographical essays "A Sketch of the Past" and "22 Hyde Park Gate") (see Sexual abuse). Biographers point out that when Stella died in 1897, there was no counterbalance to control George's predation, and his nighttime prowling. Virginia describes him as her first lover, "The old ladies of Kensington and Belgravia never knew that George Duckworth was not only father and mother, brother and sister to those poor Stephen girls; he was their lover also." It is likely that other factors also played a part. It has been suggested that they include genetic predisposition, for both trauma and family history have been implicated in bipolar disorder. Virginia's father, Leslie Stephen, suffered from depression, and her half-sister Laura was institutionalised. Many of Virginia's symptoms, including persistent headache, insomnia, irritability, and anxiety, resembled of her father's. Another factor is the pressure she placed upon herself in her work; for instance, her breakdown of 1913 was at least partly triggered by the need to finish The Voyage Out. Virginia herself hinted that her illness was related to how she saw the repressed position of women in society, when she wrote in A Room of One's Own that had Shakespeare had a sister of equal genius, she "would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at". These inspirations emerged from what Woolf referred to as her lava of madness, describing her time at Burley in a 1930 letter to Ethel Smyth: Thomas Caramagno and others, in discussing her illness, oppose the "neurotic-genius" way of looking at mental illness, where creativity and mental illness are conceptualised as linked rather than antithetical. Stephen Trombley describes Woolf as having a confrontational relationship with her doctors, and possibly being a woman who is a "victim of male medicine", referring to the lack of understanding, particularly at the time, about mental illness. Death After completing the manuscript of her last novel (posthumously published), Between the Acts (1941), Woolf fell into a depression similar to one which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work. When Leonard enlisted in the Home Guard, Virginia disapproved. She held fast to her pacifism and criticised her husband for wearing what she considered to be "the silly uniform of the Home Guard". After World War II began, Woolf's diary indicates that she was obsessed with death, which figured more and more as her mood darkened. On 28 March 1941, Woolf drowned herself by filling her overcoat pockets with stones and walking into the River Ouse near her home. Her body was not found until 18 April. Her husband buried her cremated remains beneath an elm tree in the garden of Monk's House, their home in Rodmell, Sussex. In her suicide note, addressed to her husband, she wrote: Work Woolf is considered to be one of the more important 20th century novelists. A modernist, she was one of the pioneers of using stream of consciousness as a narrative device, alongside contemporaries such as Marcel Proust, Dorothy Richardson and James Joyce. Woolf's reputation was at its greatest during the 1930s, but declined considerably following World War II. The growth of feminist criticism in the 1970s helped re-establish her reputation. Virginia submitted her first article in 1890, to a competition in Tit-Bits. Although it was rejected, this shipboard romance by the 8-year-old would presage her first novel 25 years later, as would contributions to the Hyde Park News, such as the model letter "to show young people the right way to express what is in their hearts", a subtle commentary on her mother's legendary matchmaking. She transitioned from juvenilia to professional journalism in 1904 at the age of 22. Violet Dickinson introduced her to Mrs. Lyttelton, the editor of the Women's Supplement of The Guardian, a Church of England newspaper. Invited to submit a 1,500-word article, Virginia sent Lyttelton a review of W.D. Howells' The Son of Royal Langbirth and an essay about her visit to Haworth that year, Haworth, November 1904. The review was published anonymously on 4 December, and the essay on the 21st. In 1905, Woolf began writing for The Times Literary Supplement. Woolf would go on to publish novels and essays as a public intellectual to both critical and popular acclaim. Much of her work was self-published through the Hogarth Press. "Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: she is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions." "The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings"—often wartime environments—"of most of her novels." Fiction and drama Novels Her first novel, The Voyage Out, was published in 1915 at the age of 33, by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally titled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life. The novel is set on a ship bound for South America, and a group of young Edwardians onboard and their various mismatched yearnings and misunderstandings. In the novel are hints of themes that would emerge in later work, including the gap between preceding thought and the spoken word that follows, and the lack of concordance between expression and underlying intention, together with how these reveal to us aspects of the nature of love. "Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars". "To the Lighthouse (1927) is set on two days ten years apart. The plot centres on the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind." It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them. Orlando: A Biography (1928) is one of Virginia Woolf's lightest novels. A parodic biography of a young nobleman who lives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf's lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, Knole House, though it is also a satirical treatment of Vita and her work. In Orlando, the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed for it to be mocked. "The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centred novel". Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog's point of view. Woolf was inspired to write this book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by the actress Katharine Cornell. The Years (1936), traces the history of the genteel Pargiter family from the 1880s to the "present day" of the mid-1930s. The novel had its origin in a lecture Woolf gave to the National Society for Women's Service in 1931, an edited version of which would later be published as "Professions for Women". Woolf first thought of making this lecture the basis of a new book-length essay on women, this time taking a broader view of their economic and social life, rather than focusing on women as artists, as the first book had. She soon jettisoned the theoretical framework of her "novel-essay" and began to rework the book solely as a fictional narrative, but some of the non-fiction material she first intended for this book was later used in Three Guineas (1938). "Her last work, Between the Acts (1941), sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history." This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse. While Woolf's work can be understood as consistently in dialogue with the Bloomsbury Group, particularly its tendency (informed by G.E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals. Themes Woolf's fiction has been studied for its insight into many themes including war, shell shock, witchcraft, and the role of social class in contemporary modern British society. In the postwar Mrs Dalloway (1925), Woolf addresses the moral dilemma of war and its effects and provides an authentic voice for soldiers returning from World War I, suffering from shell shock, in the person of Septimus Smith. In A Room of One's Own (1929) Woolf equates historical accusations of witchcraft with creativity and genius among women "When, however, one reads of a witch being ducked, of a woman possessed by devils...then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen". Throughout her work Woolf tried to evaluate the degree to which her privileged background framed the lens through which she viewed class. She both examined her own position as someone who would be considered an elitist snob, but attacked the class structure of Britain as she found it. In her 1936 essay Am I a Snob?, she examined her values and those of the privileged circle she existed in. She concluded she was, and subsequent critics and supporters have tried to deal with the dilemma of being both elite and a social critic. The sea is a recurring motif in Woolf's work. Noting Woolf's early memory of listening to waves break in Cornwall, Katharine Smyth writes in The Paris Review that "the radiance [of] cresting water would be consecrated again and again in her writing, saturating not only essays, diaries, and letters but also Jacob’s Room, The Waves, and To the Lighthouse." Patrizia A. Muscogiuri explains that "seascapes, sailing, diving and the sea itself are aspects of nature and of human beings’ relationship with it which frequently inspired Virginia Woolf's writing." This trope is deeply embedded in her texts’ structure and grammar; James Antoniou notes in Sydney Morning Herald how "Woolf made a virtue of the semicolon, the shape and function of which resembles the wave, her most famous motif." Despite the considerable conceptual difficulties, given Woolf's idiosyncratic use of language, her works have been translated into over 50 languages. Some writers, such as the Belgian Marguerite Yourcenar, had rather tense encounters with her, while others, such as the Argentinian Jorge Luis Borges, produced versions that were highly controversial. Drama Virginia Woolf researched the life of her great-aunt, the photographer Julia Margaret Cameron, publishing her findings in an essay titled "Pattledom" (1925), and later in her introduction to her 1926 edition of Cameron's photographs. She had begun work on a play based on an episode in Cameron's life in 1923, but abandoned it. Finally it was performed on 18 January 1935 at the studio of her sister, Vanessa Bell on Fitzroy Street in 1935. Woolf directed it herself, and the cast were mainly members of the Bloomsbury Group, including herself. Freshwater is a short three act comedy satirising the Victorian era, only performed once in Woolf's lifetime. Beneath the comedic elements, there is an exploration of both generational change and artistic freedom. Both Cameron and Woolf fought against the class and gender dynamics of Victorianism and the play shows links to both To the Lighthouse and A Room of One's Own that would follow. Non-fiction Woolf wrote a body of autobiographical work and more than 500 essays and reviews, some of which, like A Room of One's Own (1929) were of book length. Not all were published in her lifetime. Shortly after her death, Leonard Woolf produced an edited edition of unpublished essays titled The Moment and other Essays, published by the Hogarth Press in 1947. Many of these were originally lectures that she gave, and several more volumes of essays followed, such as The Captain's Death Bed: and other essays (1950). A Room of One's Own Among Woolf's non-fiction works, one of the best known is A Room of One's Own (1929), a book-length essay. Considered a key work of feminist literary criticism, it was written following two lectures she delivered on "Women and Fiction" at Cambridge University the previous year. In it, she examines the historical disempowerment women have faced in many spheres, including social, educational and financial. One of her more famous dicta is contained within the book "A woman must have money and a room of her own if she is to write fiction". Much of her argument ("to show you how I arrived at this opinion about the room and the money") is developed through the "unsolved problems" of women and fiction writing to arrive at her conclusion, although she claimed that was only "an opinion upon one minor point". In doing so, she states a good deal about the nature of women and fiction, employing a quasi-fictional style as she examines where women writers failed because of lack of resources and opportunities, examining along the way the experiences of the Brontës, George Eliot and George Sand, as well as the fictional character of Shakespeare's sister, equipped with the same genius but not position. She contrasted these women who accepted a deferential status with Jane Austen, who wrote entirely as a woman. Influences Michel Lackey argues that a major influence on Woolf, from 1912 onward, was Russian literature and Woolf adopted many of its aesthetic conventions. The style of Fyodor Dostoyevsky with his depiction of a fluid mind in operation helped to influence Woolf's writings about a "discontinuous writing process", though Woolf objected to Dostoyevsky's obsession with "psychological extremity" and the "tumultuous flux of emotions" in his characters together with his right-wing, monarchist politics as Dostoyevsky was an ardent supporter of the autocracy of the Russian Empire. In contrast to her objections to Dostoyevsky's "exaggerated emotional pitch", Woolf found much to admire in the work of Anton Chekhov and Leo Tolstoy. Woolf admired Chekhov for his stories of ordinary people living their lives, doing banal things and plots that had no neat endings. From Tolstoy, Woolf drew lessons about how a novelist should depict a character's psychological state and the interior tension within. Lackey notes that, from Ivan Turgenev, Woolf drew the lessons that there are multiple "I's" when writing a novel, and the novelist needed to balance those multiple versions of him- or herself to balance the "mundane facts" of a story vs. the writer's overarching vision, which required a "total passion" for art. The American writer Henry David Thoreau also influenced Woolf. In a 1917 essay, she praised Thoreau for his statement "The millions are awake enough for physical labor, but only one in hundreds of millions is awake enough to a poetic or divine life. To be awake is to be alive." They both aimed to capture 'the moment'––as Walter Pater says, "to burn always with this hard, gem-like flame." Woolf praised Thoreau for his "simplicity" in finding "a way for setting free the delicate and complicated machinery of the soul". Like Thoreau, Woolf believed that it was silence that set the mind free to really contemplate and understand the world. Both authors believed in a certain transcendental, mystical approach to life and writing, where even banal things could be capable of generating deep emotions if one had enough silence and the presence of mind to appreciate them. Woolf and Thoreau were both concerned with the difficulty of human relationships in the modern age. Other notable influences include William Shakespeare, George Eliot, Leo Tolstoy, Marcel Proust, Anton Chekhov, Emily Brontë, Daniel Defoe, James Joyce, and E.M. Forster. List of selected publications see , , Novels see also The Voyage Out & Complete text see also Night and Day & Complete text see also Jacob's Room & Complete text see also Mrs Dalloway & Complete text see also To the Lighthouse & Complete text, also Texts at Woolf Online see also Orlando: A Biography & Complete text see also The Waves & Complete text see also Between the Acts & Complete text Short stories see also A Haunted House and Other Short Stories & Complete text see also The Mark on the Wall & Complete text see also Kew Gardens & Complete text Cross-genre see also Flush: A Biography & Complete text Drama see also Freshwater Biography see also Roger Fry: A Biography & Complete text Essays see also A Room of One's Own & Complete text see also Mr. Bennett and Mrs. Brown & Complete text see also A Letter to a Young Poet & Complete text see also Three Guineas & Complete text Essay collections (Review) (Review) Complete text (Review) First American edition published by Harcourt, Brace and Company, New York, 1950. & also here — (1934). "Walter Sickert: A Conversation". Contributions (Digital edition) Autobiographical writing (Review) (see Moments of Being) , in (excerpts) , in (excerpts – 1st ed.) Memoir Club Contributions Diaries and notebooks Letters (Review) Photograph albums List of Album Guides Album 1 MS Thr 557 (1863–1938) Album 2 MS Thr 559 (1909–1922) Album 3 MS Thr 560 (1890–1933) Album 4 MS Thr 561 (1890–1947) Album 5 MS Thr 562 (1892–1938) Album 6 MS Thr 563 (1850–1900) Collections Views In her lifetime, Woolf was outspoken on many topics that were considered controversial, some of which are now considered progressive, others regressive. She was an ardent feminist at a time when women's rights were barely recognised, and anti-colonialist, anti-imperialist and a pacifist when chauvinism was popular. On the other hand, she has been criticised for views on class and race in her private writings and published works. Like many of her contemporaries, some of her writing is now considered offensive. As a result, she is considered polarising, a revolutionary feminist and socialist hero or a purveyor of hate speech. Works such as A Room of One's Own (1929) and Three Guineas (1938) are frequently taught as icons of feminist literature in courses that would be very critical of some of her views expressed elsewhere. She has also been the recipient of considerable homophobic and misogynist criticism. Humanist views Virginia Woolf was born into a non-religious family and is regarded, along with her fellow Bloomsberries E.M. Forster and G.E. Moore, as a humanist. Both her parents were prominent agnostic atheists. Her father, Leslie Stephen, had become famous in polite society for his writings which expressed and publicised reasons to doubt the veracity of religion. Stephen was also President of the West London Ethical Society, an early humanist organisation, and helped to found the Union of Ethical Societies in 1896. Woolf's mother, Julia Stephen, wrote the book Agnostic Women (1880), which argued that agnosticism (defined here as something more like atheism) could be a highly moral approach to life. Woolf was a critic of Christianity. In a letter to Ethel Smyth, she gave a scathing denunciation of the religion, seeing it as self-righteous "egotism" and stating "my Jew [Leonard] has more religion in one toenail—more human love, in one hair". Woolf stated in her private letters that she thought of herself as an atheist. Controversies Hermione Lee cites a number of extracts from Woolf's writings that many, including Lee, would consider offensive, and these criticisms can be traced back as far as those of Wyndham Lewis and Q.D. Leavis in the 1920s and 1930s. Other authors provide more nuanced contextual interpretations, and stress the complexity of her character and the apparent inherent contradictions in analysing her apparent flaws. She could certainly be off-hand, rude and even cruel in her dealings with other authors, translators and biographers, such as her treatment of Ruth Gruber. Some authors, particularly postcolonial feminists dismiss her (and modernist authors in general) as privileged, elitist, classist, racist, and antisemitic. Woolf's tendentious expressions, including prejudicial feelings against disabled people, have often been the topic of academic criticism: The first quotation is from a diary entry of September 1920 and runs: "The fact is the lower classes are detestable." The remainder follow the first in reproducing stereotypes standard to upper-class and upper-middle class life in the early 20th century: "imbeciles should certainly be killed"; "Jews" are greasy; a "crowd" is both an ontological "mass" and is, again, "detestable"; "Germans" are akin to vermin; some "baboon faced intellectuals" mix with "sad green dressed negroes and negresses, looking like chimpanzees" at a peace conference; Kensington High St. revolts one's stomach with its innumerable "women of incredible mediocrity, drab as dishwater". Antisemitism Though accused of antisemitism, the treatment of Judaism and Jews by Woolf is far from straightforward. She was happily married to a Jewish man (Leonard Woolf) but often wrote about Jewish characters using stereotypes and generalisations. For instance, she described some of the Jewish characters in her work in terms that suggested they were physically repulsive or dirty. On the other hand, she could criticise her own views: "How I hated marrying a Jew — how I hated their nasal voices and their oriental jewellery, and their noses and their wattles — what a snob I was: for they have immense vitality, and I think I like that quality best of all" (Letter to Ethel Smyth 1930). These attitudes have been construed to reflect, not so much antisemitism, but tribalism; she married outside her social grouping, and Leonard Woolf, too, expressed misgivings about marrying a gentile. Leonard, "a penniless Jew from Putney", lacked the material status of the Stephens and their circle. While travelling on a cruise to Portugal, she protested at finding "a great many Portuguese Jews on board, and other repulsive objects, but we keep clear of them". Furthermore, she wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." Her 1938 short story The Duchess and the Jeweller (originally titled The Duchess and the Jew) has been considered antisemitic. Yet Woolf and her husband Leonard came to despise and fear the 1930s fascism and antisemitism. Her 1938 book Three Guineas was an indictment of fascism and what Woolf described as a recurring propensity among patriarchal societies to enforce repressive societal mores by violence. Sexuality The Bloomsbury Group held very progressive views regarding sexuality and shucked the austere strictness of Victorian society. The majority of its members were homosexual or bisexual. Virginia was most likely a lesbian, some debate that she was bisexual. However she had several affairs with women, the most notable being with Vita Sackville-West which inspired Orlando: A Biography. The two of them remained lovers for a decade and stayed close friends for the rest of Virginia's life. Virginia had said to Vita she disliked masculinity Among her other notable affairs were Sibyl Colefax, Lady Ottoline Morrell and Mary Hutchinson. Some surmise that she may have fallen in love with Madge Symonds, the wife of one of her uncles. Madge Symonds was described as one of Virginia's early loves in Vita's diary She also fell in love with Violet Dickinson although there is some confusion as to whether the two consummated their relationship. In regards to relationships with men, Virginia was averse to sex with them, blaming the sexual abuse perpetrated upon her and her sister by her half-brothers when they were children and teens. This is one of the reasons she initially declined marriage proposals from her future husband, Leonard. She even went as far as to tell him that she was not attracted to him, but that she did love him and finally agreed to marriage. Virginia preferred female lovers to male lovers, for the most part, based on her aversion to sex with men. This aversion to relations with men influenced her writing especially when considering her sexual abuse as a child. Leonard became the love of her life and even though their sexual relationship was questionable, they loved each other deeply and formed a strong, supportive and prolific marriage which led to the formation of their publishing house as well as several of her writings. Neither was faithful to the other sexually, but they were faithful in their love and respect for each other. Modern scholarship and interpretations Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell. Hermione Lee's 1996 biography Virginia Woolf provides a thorough and authoritative examination of Woolf's life and work, which she discussed in an interview in 1997. In 2001, Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life (2005) focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. The sociologist Pierre Bourdieu also uses Woolf's literature to understand and analyse gender domination. Woolf biographer Gillian Gill notes that Woolf's traumatic experience of sexual abuse by her half-brothers during her childhood influenced her advocacy of protection of vulnerable children from similar experiences. Virginia Woolf and her mother The intense scrutiny of Virginia Woolf's literary output (see Bibliography) has led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter. Woolf states that, "my first memory, and in fact it is the most important of all my memories" is of her mother. Her memories of her mother are memories of an obsession, starting with her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect. In many ways, her mother's profound influence on Virginia Woolf is conveyed in the latter's recollections, "there she is; beautiful, emphatic ... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children". Woolf described her mother as an "invisible presence" in her life, and Ellen Rosenman argues that the mother-daughter relationship is a constant in Woolf's writing. She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death. Julia's influence and memory pervades Woolf's life and work. "She has haunted me", she wrote. Historical feminism According to the 2007 book Feminism: From Mary Wollstonecraft to Betty Friedan by Bhaskar A. Shukla, "Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer." In 1928, Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge and the Arts Society at Newnham College with two papers that eventually became A Room of One's Own (1929). Woolf's best-known nonfiction works, A Room of One's Own (1929) and Three Guineas (1938), examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society. In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield— have explored "the given". In popular culture Who's Afraid of Virginia Woolf? is a 1962 play by Edward Albee. It examines the structure of the marriage of an American middle-aged academic couple, Martha and George. Mike Nichols directed a film version in 1966, starring Elizabeth Taylor and Richard Burton. Taylor won the 1966 Academy Award for Best Actress for the role. Me! I'm Afraid of Virginia Woolf, a 1978 TV play, references the title of the Edward Albee play and features an English literature teacher who has a poster of her. It was written by Alan Bennett and directed by Stephen Frears. The artwork The Dinner Party (1979) features a place setting for Woolf. The 1996 album Poetic Justice, by British musician Steve Harley, contains a tribute to Woolf, specifically her most adventurous novel, in its closing track: "Riding the Waves (for Virginia Woolf)". Michael Cunningham's 1998 Pulitzer Prize-winning novel The Hours focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released, starring Nicole Kidman as Woolf. Kidman won the 2003 Academy Award for her portrayal. Susan Sellers's novel Vanessa and Virginia (2008) explores the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre Company. Priya Parmar's 2014 novel Vanessa and Her Sister also examined the Stephen sisters' relationship during the early years of their association with what became known as the Bloomsbury Group. An exhibition on Virginia Woolf was held at the National Portrait Gallery from July to October 2014. In the 2014 novel The House at the End of Hope Street, Woolf is featured as one of the women who has lived in the titular house. Virginia is portrayed by both Lydia Leonard and Catherine McCormack in the BBC's three-part drama series Life in Squares (2015). On 25 January 2018, Google showed a Google doodle celebrating her 136th birthday. In many Barnes & Noble stores, Woolf is featured in Gary Kelly's Author Mural Panels, an imprint of the Barnes & Noble Author brand that also features other notable authors like Hurston, Tagore, and Kafka. The 2018 film Vita and Virginia depicts the relationship between Vita Sackville-West and Woolf, portrayed by Gemma Arterton and Elizabeth Debicki respectively. The 2020 novel Trio by William Boyd follows the life of Elfrida Wing, an alcoholic writer interested in the suicide of Woolf. Adaptations A number of Virginia Woolf's works have been adapted for the screen, and her play Freshwater (1935) is the basis for a 1994 chamber opera, Freshwater, by Andy Vores. The final segment of the 2018 London Unplugged is adapted from her short story Kew Gardens. Septimus and Clarissa, a stage adaptation of Mrs. Dalloway was created and produced by the New York-based ensemble Ripe Time in 2011 at the Baruch Performing Arts Center. It was adapted by Ellen McLaughlin, and directed and devised by Rachel Dickstein. It was nominated for a 2012 Drama League award for Outstanding Production, a Drama Desk nomination for Outstanding Score (Gina Leishman) and a Joe A. Calloway Award nomination for outstanding direction (Rachel Dickstein.) Legacy Virginia Woolf is known for her contributions to 20th-century literature and her essays, as well as the influence she has had on literary, particularly feminist criticism. A number of authors have stated that their work was influenced by her, including Margaret Atwood, Michael Cunningham, Gabriel García Márquez, and Toni Morrison. Her iconic image is instantly recognisable from the Beresford portrait of her at twenty (at the top of this page) to the Beck and Macgregor portrait in her mother's dress in Vogue at 44 (see image) or Man Ray's cover of Time magazine (see image) at 55. More postcards of Woolf are sold by the National Portrait Gallery, London than any other person. Her image is ubiquitous, and can be found on products ranging from tea towels to T-shirts. Virginia Woolf is studied around the world, with organisations such as the Virginia Woolf Society, and The Virginia Woolf Society of Japan. In addition, trusts—such as the Asham Trust—encourage writers in her honour. Although she had no descendants, a number of her extended family are notable. Monuments and memorials In 2013, Woolf was honoured by her alma mater of King's College London with the opening of the Virginia Woolf Building on Kingsway, with a plaque commemorating her time there and her contributions (see image), together with this exhibit depicting her accompanied by a quotation "London itself perpetually attracts, stimulates, gives me a play & a story & a poem" from her 1926 diary. Busts of Virginia Woolf have been erected at her home in Rodmell, Sussex and at Tavistock Square, London where she lived between 1924 and 1939. In 2014, she was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighbourhood noting LGBTQ people who have "made significant contributions in their fields". Woolf Works, a women's co-working space in Singapore, opened in 2014 and was named after her in tribute to the essay A Room of One's Own; it also has many other things named after it (see the essay's article). A campaign was launched in 2018 by Aurora Metro Arts and Media to erect a statue of Woolf in Richmond, where she lived for 10 years. The proposed statue shows her reclining on a bench overlooking the river Thames. Family trees see , , , \| Notes References Bibliography Books and theses see also The Second Sex see also Survey of London (Review) Biography: Virginia Woolf Vol. I: Virginia Stephen 1882 to 1912. London: Hogarth Press. 1972. Vol. II: Virginia Woolf 1912 to 1941. London: Hogarth Press. 1972. (Review) (Review) (Review) (additional excerpts) (Review) (excerpt - Chapter 1) (Review) (Review) (Review) (Illustrations of Woolf's London homes are excerpted at .) Mental health additional excerpts (summary) see also Touched with Fire Biography: Other (Review) (Review) (Review) (Review) (Review) (Review) also Internet archive also available through MOMA here Literary commentary (additional excerpts) (Review) additional excerpt (Review) (Review) (Review) Bloomsbury (additional excerpts) (Review) Chapters and contributions , in , in , in , in , in , in , in , in , in , in , in , in , in , in , in , in Articles Journals (text also available here) Dictionaries and encyclopaedias Newspapers and magazines archived version archived version with excerpt Websites and documents (includes invitation to first performance in 1935 and Lucio Ruotolo's introduction to the 1976 Hogarth Press edition) Blogs British Library Literary commentary British Library Virginia Woolf's homes and venues , in , in Virginia Woolf biography Timelines , in , in , in } , in Genealogy , in Images , in , in , in Maps , in Audiovisual media see also Life in Squares excerpt Selected online texts Audiofiles Archival material Bibliography notes Bibliography references External links Virginia Woolf Papers at the Mortimer Rare Book Collection, Smith College Special Collections 1882 births 1941 suicides 19th-century English women 19th-century English people 19th-century English writers 20th-century British short story writers 20th-century English women writers 20th-century English novelists 20th-century essayists 20th-century non-fiction writers Alumni of King's College London Bisexual women Bisexual writers Bloomsbury Group Bloomsbury Group biographers British anti-fascists British atheists British autobiographers British diarists British essayists British humanists British memoirists British pacifists British secularists British socialists British cultural critics British women dramatists and playwrights British women essayists British women short story writers Critics of Christianity Critics of Judaism Critics of new religious movements Critics of religions English anti-fascists English atheists English autobiographers English diarists English essayists English humanists English memoirists English pacifists English socialists English women dramatists and playwrights English women novelists LGBT memoirists LGBT writers from England Mental health activists Modernist women writers Modernist writers People from Kensington People with bipolar disorder British social commentators Social critics Stephen-Bell family Suicides by drowning in England Women diarists British women memoirists Writers about activism and social change Writers from London 20th-century memoirists Dreadnought hoax English feminist writers Atheist feminists People from Firle British feminists English feminists Lost Generation writers Pipe smokers	true	[ "Robert Waller (born September 1955) is a British election expert, author, teacher, and former opinion pollster. His best known published work is The Almanac of British Politics (8 editions, 1983–2007), a guide to the voting patterns of all United Kingdom parliamentary constituencies.\n\nEducation and career\n\nWaller was born in Stoke-on-Trent, and educated first at Buxton College in Derbyshire, and then at the University of Oxford. In 1977, he earned a BA in History from Balliol College, and in 1981, graduated from Merton College with an MA and D.Phil. in History. His doctoral thesis, a historical study of the Dukeries district of Nottinghamshire, was published by Oxford University Press in 1983 under the title The Dukeries Transformed. He was a Fellow of Magdalen College from 1980 to 1984.\n\nFrom 1984 to 1986 Waller was a lecturer and tutor in Politics and History at the University of Oxford, as well as an assistant professor at the University of Notre Dame. In 1986, he became the research director of the Harris Research Centre, responsible for national opinion polling. He remained in this position until 1998, when he took up secondary school teaching. He has since taught at Brighton College, Dame Alice Harpur School in Bedford, and Haileybury in Hertford. In 2001 he was made head of History and Politics at the Greenacre School for Girls in Banstead, Surrey. In 2017 he moved to teach at Dunottar School, Reigate.\n\nFrom 2008 until the 2010 general election, Waller contributed a monthly column to Total Politics magazine.\n\nBibliography\n\nThe Dukeries Transformed. 1983. Oxford University Press. .\nThe Almanac of British Politics.\nApril 1983 (Croom Helm) \nOctober 1983 (Croom Helm) \n1987 (Croom Helm) \n1991 (Routledge) \n1995 (Routledge) \n1999 (Routledge) \n2002 (Routledge) \n2007 (Routledge) \n The Atlas of British Politics (1985). Croom Helm. .\nMoulding Political Opinion (with Ken Livingstone and Sir Geoffrey Finsberg 1988). Croom Helm. .\nWhat if the SDP-Liberal Alliance had finished second in the 1983 general election in Duncan Brack and Iain Dale (eds) Prime Minister Portillo and other things that never happened. (2003, paperback 2004). Politico's Publishing. \nWhat if the 1903 Gladstone – MacDonald Pact had never happened in Duncan Brack (ed) President Gore ... and other things that never happened (2006). Politico's Publishing. \nWhat if proportional representation had been introduced in 1918 in Duncan Brack and Iain Dale eds. Prime Minister Boris .. and other things that never happened (2011). Biteback Publishing. \n2015 General Election (with Iain Dale, Greg Callus and Daniel Hamilton) (2014). Biteback Publishing. .\nThe Politico's Guide to the New House of Commons 2015 (with Tim Carr and Iain Dale 2015). Biteback Publishing. .\nWhat if Lyndon Johnson had been shot down in 1942 in Duncan Brack and Iain Dale eds. Prime Minister Corbyn ... and other things that never happened (2016). Biteback Publishing. \nThe Politico's Guide to the New House of Commons 2017 (with Tim Carr and Iain Dale 2017). Biteback Publishing. .\nRamsay MacDonald in Iain Dale ed. The Prime Ministers (2020). Hodder & Stoughton. \nWhat if Franklin D.Roosevelt had died of polio in 1921 in Duncan Brack and Iain Dale eds. Prime Minister Priti ... and other things that never happened (2021). Biteback Publishing. \nRutherford Hayes in Iain Dale ed. The Presidents (2021). Hodder & Stoughton.\n\nReferences\n\nExternal links \n Full text of doctoral thesis, \"The social and political development of a new coalfield\" via Oxford Research Archive\n\nAlumni of Balliol College, Oxford\n1955 births\nLiving people\nPeople educated at Buxton College\nPollsters", "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" ]
[ "Fred Rogers", "VCR" ]	C_f973880c74e14646b417dd7804c9af66_0	what is fred rogers most known for?	1	What is Fred Rogers most known for?	Fred Rogers	During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER	Rogers was involved in supporting the manufacturers of VCRs in court.	Fred McFeely Rogers (March 20, 1928 – February 27, 2003), also known as Mister Rogers, was an American television host, author, producer, and Presbyterian minister. He was the creator, showrunner, and host of the preschool television series Mister Rogers' Neighborhood, which ran from 1968 to 2001. Born in Latrobe, Pennsylvania, near Pittsburgh, Rogers earned a bachelor's degree in music from Rollins College in 1951. He began his television career at NBC in New York, returning to Pittsburgh in 1953 to work for children's programming at NET (later PBS) television station WQED. He graduated from Pittsburgh Theological Seminary with a bachelor's degree in divinity in 1962 and became a Presbyterian minister in 1963. He attended the University of Pittsburgh's Graduate School of Child Development, where he began his 30-year collaboration with child psychologist Margaret McFarland. He also helped develop the children's shows The Children's Corner (1955) for WQED in Pittsburgh and Misterogers (1963) in Canada for the Canadian Broadcasting Corporation. In 1968, he returned to Pittsburgh and adapted the format of his Canadian series to create Mister Rogers' Neighborhood, which ran for 33 years. The program was critically acclaimed for focusing on children's emotional and physical concerns, such as death, sibling rivalry, school enrollment, and divorce. Rogers died of stomach cancer on February 27, 2003, at age 74. His work in children's television has been widely lauded, and he received more than 40 honorary degrees and several awards, including the Presidential Medal of Freedom in 2002 and a Lifetime Achievement Emmy in 1997. He was inducted into the Television Hall of Fame in 1999. Rogers influenced many writers and producers of children's television shows, and his broadcasts have served as a source of comfort during tragic events, even after his death. Early life Rogers was born on March 20, 1928, in Latrobe, Pennsylvania, about outside of Pittsburgh, at 705 Main Street to James and Nancy Rogers. James was "a very successful businessman" who was president of the McFeely Brick Company, one of Latrobe's largest businesses. Nancy's father, Fred Brooks McFeely, after whom Rogers was named, was an entrepreneur. Nancy knitted sweaters for American soldiers from western Pennsylvania who were fighting in Europe and regularly volunteered at the Latrobe Hospital. Initially, dreaming of becoming a doctor, she settled for a life of hospital volunteer work. Rogers grew up in a three-story brick mansion at 737 Weldon Street in Latrobe. He had a sister, Elaine, whom the Rogerses adopted when he was 11 years old. Rogers spent much of his childhood alone, playing with puppets, and also spent time with his grandfather. He began to play the piano when he was five years old. Through an ancestor who immigrated from Germany to the U.S., Johannes Meffert (born 1732), Rogers is the sixth cousin of American actor Tom Hanks, who portrays him in the film A Beautiful Day in the Neighborhood (2019). Rogers had a difficult childhood. He was shy, introverted, and overweight, and was frequently homebound after suffering bouts of asthma. He was bullied and taunted as a child for his weight, and called "Fat Freddy". According to Morgan Neville, director of the 2018 documentary Won't You Be My Neighbor?, Rogers had a "lonely childhood... I think he made friends with himself as much as he could. He had a ventriloquist dummy, he had [stuffed] animals, and he would create his own worlds in his childhood bedroom". Rogers attended Latrobe High School, where he overcame his shyness. "It was tough for me at the beginning," Rogers told NPR's Terry Gross in 1984. "And then I made a couple friends who found out that the core of me was okay. And one of them was... the head of the football team". Rogers served as president of the student council, was a member of the National Honor Society, and was editor-in-chief of the school yearbook. He registered for the draft in Greensburg, Pennsylvania, in 1948 at age 20, where he was classified as “1-A”, available for military service. However, his status was changed to “4-F”, unfit for military service, following an Armed Forces physical on October 12, 1950. Rogers attended Dartmouth College for one year before transferring to Rollins College in Winter Park, Florida; he graduated magna cum laude in 1951 with a Bachelor of Music. Rogers graduated magna cum laude from Pittsburgh Theological Seminary in 1962 with a Bachelor of Divinity. He was ordained a minister by the Pittsburgh Presbytery of the United Presbyterian Church in 1963. His mission as an ordained minister, instead of being a pastor of a church, was to minister to children and their families through television. He regularly appeared before church officials to keep up his ordination. Career Early work Rogers wanted to enter seminary after college, but instead chose to go into the nascent medium of television after encountering a TV at his parents' home in 1951 during his senior year at Rollins College. In a CNN interview, he said, "I went into television because I hated it so, and I thought there's some way of using this fabulous instrument to nurture those who would watch and listen". After graduating in 1951, he worked at NBC in New York City as floor director of Your Hit Parade, The Kate Smith Hour, and Gabby Hayes's children's show, and as an assistant producer of The Voice of Firestone. In 1953, Rogers returned to Pittsburgh to work as a program developer at public television station WQED. Josie Carey worked with him to develop the children's show The Children's Corner, which Carey hosted. Rogers worked off-camera to develop puppets, characters, and music for the show. He used many of the puppet characters developed during this time, such as Daniel the Striped Tiger (named after WQED's station manager, Dorothy Daniel, who gave Rogers a tiger puppet before the show's premiere), King Friday XIII, Queen Sara Saturday (named after Rogers's wife), X the Owl, Henrietta, and Lady Elaine, in his later work. Children's television entertainer Ernie Coombs was an assistant puppeteer. The Children's Corner won a Sylvania Award for best locally produced children's programming in 1955 and was broadcast nationally on NBC. While working on The Children's Corner, Rogers attended Pittsburgh Theological Seminary, and was ordained as a Presbyterian minister in 1963. He also attended the University of Pittsburgh's Graduate School of Child Development, where he began working with child psychologist Margaret McFarland, who according to Rogers's biographer Maxwell King became his "key advisor and collaborator" and "child-education guru". Much of Rogers's "thinking about and appreciation for children was shaped and informed" by McFarland. She was his consultant for most of Mister Rogers' Neighborhoods scripts and songs for 30 years. In 1963, the Canadian Broadcasting Corporation (CBC) in Toronto contracted Rogers to develop and host the 15-minute black-and-white children's program Misterogers; it lasted from 1963 to 1967. It was the first time Rogers appeared on camera. CBC's children's programming head Fred Rainsberry insisted on it, telling Rogers, "Fred, I've seen you talk with kids. Let's put you yourself on the air". Coombs joined Rogers in Toronto as an assistant puppeteer. Rogers also worked with Coombs on the children's show Butternut Square from 1964 to 1967. He acquired the rights to Misterogers in 1967 and returned to Pittsburgh with his wife, two young sons, and the sets he developed, despite a potentially promising career with CBC and no job prospects in Pittsburgh. On Rogers' recommendation, Coombs remained in Toronto and became Rogers' Canadian equivalent of an iconic television personality, creating the long-running children's program, Mr. Dressup, which ran from 1967 to 1996. Rogers's work for CBC "helped shape and develop the concept and style of his later program for the Public Broadcasting Service (PBS) in the U.S." Mister Rogers' Neighborhood Mister Rogers' Neighborhood (also called the Neighborhood), a half-hour educational children's program starring Rogers, began airing nationally in 1968 and ran for 895 episodes. The program was videotaped at WQED in Pittsburgh and was broadcast by National Educational Television (NET), which later became the Public Broadcasting Service (PBS). Its first season had 180 black-and-white episodes. Each subsequent season, filmed in color and funded by PBS, the Sears-Roebuck Foundation, and other charities, consisted of 65 episodes. By the time the program ended production in December 2000, its average rating was about 0.7 percent of television households, or 680,000 homes, and it aired on 384 PBS stations. At its peak in 1985–1986, its ratings were at 2.1 percent, or 1.8 million homes. Production of the Neighborhood ended in December 2000, and the last original episode aired in 2001, but PBS continued to air reruns; by 2016 it was the third-longest running program in PBS history. Many of the sets and props in Mister Rogers' Neighborhood, like the trolley, the sneakers, and the castle, were created for Rogers's show in Toronto by CBC designers and producers. The program also "incorporated most of the highly imaginative elements that later became famous", such as its slow pace and its host's quiet manner. The format of Mister Rogers' Neighborhood "remained virtually unchanged" for the entire run of the program. Every episode begins with a camera's-eye view of a model of a neighborhood, then panning in closer to a representation of a house while a piano instrumental of the theme song, "Won't You be My Neighbor?", performed by music director Johnny Costa and inspired by a Beethoven sonata, is played. The camera zooms in to a model representing Mr. Rogers's house, then cuts to the house's interior and pans across the room to the front door, which Rogers opens as he sings the theme song to greet his visitors while changing his suit jacket to a cardigan (knitted by his mother) and his dress shoes to sneakers, "complete with a shoe tossed from one hand to another". The episode's theme is introduced, and Mr. Rogers leaves his home to visit another location, the camera panning back to the neighborhood model and zooming in to the new location as he enters it. Once this segment ends, Mr. Rogers leaves and returns to his home, indicating that it is time to visit the Neighborhood of Make-Believe. Mr. Rogers proceeds to the window seat by the trolley track and sets up the action there as the Trolley comes out. The camera follows it down a tunnel in the back wall of the house as it enters the Neighborhood of Make-Believe. The stories and lessons told take place over a series of a week's worth of episodes and involve puppet and human characters. The end of the visit occurs when the Trolley returns to the same tunnel from which it emerged, reappearing in Mr. Rogers's home. He then talks to the viewers before concluding the episode. He often feeds his fish, cleans up any props he has used, and returns to the front room, where he sings the closing song while changing back into his dress shoes and jacket. He exits the front door as he ends the song, and the camera zooms out of his home and pans across the neighborhood model as the episode ends. Mister Rogers' Neighborhood emphasized young children's social and emotional needs, and unlike another PBS show, Sesame Street, which premiered in 1969, did not focus on cognitive learning. Writer Kathy Merlock Jackson said, "While both shows target the same preschool audience and prepare children for kindergarten, Sesame Street concentrates on school-readiness skills while Mister Rogers Neighborhood focuses on the child's developing psyche and feelings and sense of moral and ethical reasoning". The Neighborhood also spent fewer resources on research than Sesame Street, but Rogers used early childhood education concepts taught by his mentor Margaret McFarland, Benjamin Spock, Erik Erikson, and T. Berry Brazelton in his lessons. As the Washington Post noted, Rogers taught young children about civility, tolerance, sharing, and self-worth "in a reassuring tone and leisurely cadence". He tackled difficult topics such as the death of a family pet, sibling rivalry, the addition of a newborn into a family, moving and enrolling in a new school, and divorce. For example, he wrote a special segment that dealt with the assassination of Robert F. Kennedy that aired on June 7, 1968, days after the assassination occurred. According to King, the process of putting each episode of Mister Rogers' Neighborhood together was "painstaking" and Rogers's contribution to the program was "astounding". Rogers wrote and edited all the episodes, played the piano and sang for most of the songs, wrote 200 songs and 13 operas, created all the characters (both puppet and human), played most of the major puppet roles, hosted every episode, and produced and approved every detail of the program. The puppets created for the Neighborhood of Make-Believe "included an extraordinary variety of personalities". They were simple puppets but "complex, complicated, and utterly honest beings". In 1971, Rogers formed Family Communications, Inc. (FCI, now The Fred Rogers Company), to produce the Neighborhood, other programs, and non-broadcast materials. In 1975, Rogers stopped producing Mr. Rogers' Neighborhood to focus on adult programming. Reruns of the Neighborhood continued to air on PBS. King reports that the decision caught many of his coworkers and supporters "off guard". Rogers continued to confer with McFarland about child development and early childhood education, however. In 1979, after an almost five-year hiatus, Rogers returned to producing the Neighborhood; King calls the new version "stronger and more sophisticated than ever". King writes that by the program's second run in the 1980s, it was "such a cultural touchstone that it had inspired numerous parodies", most notably Eddie Murphy's parody on Saturday Night Live in the early 1980s. Rogers retired from producing the Neighborhood in 2001 at age 73, although reruns continued to air. He and FCI had been making about two or three weeks of new programs per year for many years, "filling the rest of his time slots from a library of about 300 shows made since 1979". The final original episode of Mister Rogers' Neighborhood aired on August 31, 2001. Other work and appearances In 1969, Rogers testified before the U.S. Senate Subcommittee on Communications, which was chaired by Democratic Senator John Pastore of Rhode Island. U.S. President Lyndon Johnson had proposed a $20 million bill for the creation of PBS before he left office, but his successor, Richard Nixon, wanted to cut the funding to $10 million. Even though Rogers was not yet nationally known, he was chosen to testify because of his ability to make persuasive arguments and to connect emotionally with his audience. The clip of Rogers's testimony, which was televised and has since been viewed by millions of people on the internet, helped to secure funding for PBS for many years afterwards. According to King, Rogers's testimony was "considered one of the most powerful pieces of testimony ever offered before Congress, and one of the most powerful pieces of video presentation ever filmed". It brought Pastore to tears and also, according to King, has been studied by public relations experts and academics. Congressional funding for PBS increased from $9 million to $22 million. In 1970, Nixon appointed Rogers as chair of the White House Conference on Children and Youth. In 1978, while on hiatus from Mister Rogers' Neighborhood, Rogers wrote, produced, and hosted a 30-minute interview program for adults on PBS called Old Friends... New Friends. It lasted 20 episodes. Rogers's guests included Hoagy Carmichael, Helen Hayes, Milton Berle, Lorin Hollander, poet Robert Frost's daughter Lesley, and Willie Stargell. In September 1987, Rogers visited Moscow to appear as the first guest on the long-running Soviet children's TV show Good Night, Little Ones! with host Tatiana Vedeneyeva. The appearance was broadcast in the Soviet Union on December 7, coinciding with the Washington Summit meeting between Soviet leader Mikhail Gorbachev and U.S. President Ronald Reagan in Washington D.C. Vedeneyeva visited the set of Mister Rogers' Neighborhood in November. Her visit was taped and later aired in March 1988 as part of Rogers's program. In 1994, Rogers wrote, produced, and hosted a special for PBS called Fred Rogers' Heroes, which featured interviews and portraits of four people from across the country who were having a positive impact on children and education. The first time Rogers appeared on television as an actor, and not himself, was in a 1996 episode of Dr. Quinn, Medicine Woman, playing a preacher. Rogers gave "scores of interviews". Though reluctant to appear on television talk shows, he would usually "charm the host with his quick wit and ability to ad-lib on a moment's notice". Rogers was "one of the country's most sought-after commencement speakers", making over 150 speeches. His friend and colleague David Newell reported that Rogers would "agonize over a speech", and King reported that Rogers was at his least guarded during his speeches, which were about children, television, education, his view of the world, how to make the world a better place, and his quest for self-knowledge. His tone was quiet and informal but "commanded attention". In many speeches, including the ones he made accepting a Lifetime Achievement Emmy in 1997, for his induction into the Television Hall of Fame in 1999, and his final commencement speech at Dartmouth College in 2002, he instructed his audiences to remain silent and think for a moment about someone who had a good influence on them. Personal life Rogers met Sara Joanne Byrd (called "Joanne") from Jacksonville, Florida, while attending Rollins College. They were married from 1952 until his death in 2003. They had two sons, James and John. Joanne was "an accomplished pianist", who like Fred earned a Bachelor of Music from Rollins, and went on to earn a Master of Music from Florida State University. She performed publicly with her college classmate, Jeannine Morrison, from 1976 to 2008. According to biographer Maxwell King, Rogers's close associates said he was "absolutely faithful to his marriage vows". Rogers was red-green color-blind. He became a pescatarian in 1970, after the death of his father, and a vegetarian in the early 1980s, saying he "couldn't eat anything that had a mother". He became a co-owner of Vegetarian Times in the mid-1980s and said in one issue, "I love tofu burgers and beets". He told Vegetarian Times that he became a vegetarian for both ethical and health reasons. According to his biographer Maxwell King, Rogers also signed his name to a statement protesting wearing animal furs. Rogers was a registered Republican, but according to Joanne Rogers, he was "very independent in the way he voted", choosing not to talk about politics because he wanted to be impartial. Rogers was a Presbyterian, and many of the messages he expressed in Mister Rogers' Neighborhood were inspired by the core tenets of Christianity. Rogers rarely spoke about his faith on air; he believed that teaching through example was as powerful as preaching. He said, "You don't need to speak overtly about religion in order to get a message across". According to writer Shea Tuttle, Rogers considered his faith a fundamental part of his personality and "called the space between the viewer and the television set 'holy ground'". But despite his strong faith, Rogers struggled with anger, conflict, and self-doubt, especially at the end of his life. He also studied Catholic mysticism, Judaism, Buddhism, and other faiths and cultures. King called him "that unique television star with a real spiritual life", emphasizing the values of patience, reflection, and "silence in a noisy world". King reported that despite Rogers's family's wealth, he cared little about making money, and lived frugally, especially as he and his wife grew older. King reported that Rogers's relationship with his young audience was important to him. For example, since hosting Misterogers in Canada, he answered every letter sent to him by hand. After Mister Rogers' Neighborhood began airing in the U.S., the letters increased in volume and he hired staff member and producer Hedda Sharapan to answer them, but he read, edited, and signed each one. King wrote that Rogers saw responding to his viewers' letters as "a pastoral duty of sorts". The New York Times called Rogers "a dedicated lap-swimmer", and Tom Junod, author of "Can You Say... Hero?", the 1998 Esquire profile of Rogers, said, "Nearly every morning of his life, Mister Rogers has gone swimming". Rogers began swimming when he was a child at his family's vacation home outside Latrobe, where they owned a pool, and during their winter trips to Florida. King wrote that swimming and playing the piano were "lifelong passions" and that "both gave him a chance to feel capable and in charge of his destiny", and that swimming became "an important part of the strong sense of self-discipline he cultivated". Rogers swam daily at the Pittsburgh Athletic Association, after waking every morning between 4:30 and 5:30 A.M. to pray and to "read the Bible and prepare himself for the day". He did not smoke or drink. According to Junod, he did nothing to change his weight from the he weighed for most of his adult life; by 1998, this also included napping daily, going to bed at 9:30 P.M., and sleeping eight hours per night without interruption. Junod said Rogers saw his weight "as a destiny fulfilled", telling Junod, "the number 143 means 'I love you.' It takes one letter to say 'I' and four letters to say 'love' and three letters to say 'you'". Death and memorials After Rogers's retirement in 2001, he remained busy working with FCI, studying religion and spirituality, making public appearances, traveling, and working on a children's media center named after him at Saint Vincent College in Latrobe with Archabbot Douglas Nowicki, chancellor of the college. By the summer of 2002, his chronic stomach pain became severe enough for him to see a doctor about it, and in October 2002, he was diagnosed with stomach cancer. He delayed treatment until after he served as Grand Marshal of the 2003 Rose Parade, with Art Linkletter and Bill Cosby in January. On January 6, Rogers underwent stomach surgery. He died less than two months later, on February 27, 2003, one month before his 75th birthday, at his home in Pittsburgh, with his wife of 50 years, Joanne, at his side. While comatose shortly before his death, he received the last rites of the Catholic Church from Archabbot Nowicki. The following day, the Pittsburgh Post-Gazette covered Rogers's death on the front page and dedicated an entire section to his death and impact. The newspaper also reported that by noon, the internet "was already full of appreciative pieces" by parents, viewers, producers, and writers. Rogers's death was widely lamented. Most U.S. metropolitan newspapers ran his obituary on their front page, and some dedicated entire sections to coverage of his death. WQED aired programs about Rogers the evening he died; the Post-Gazette reported that the ratings for their coverage were three times higher than their normal ratings. That same evening, Nightline on ABC broadcast a rerun of a recent interview with Rogers; the program got the highest ratings of the day, beating the February average ratings of Late Show with David Letterman and The Tonight Show with Jay Leno. On March 4, the U.S. House of Representatives unanimously passed a resolution honoring Rogers sponsored by Representative Mike Doyle from Pennsylvania. On March 1, 2003, a private funeral was held for Rogers in Unity Chapel, which was restored by Rogers's father, at Unity Cemetery in Latrobe. About 80 relatives, co-workers, and close friends attended the service, which "was planned in great secrecy so that those closest to him could grieve in private". Reverend John McCall, pastor of the Rogers family's church, Sixth Presbyterian Church in Squirrel Hill, gave the homily, and Reverend William Barker, a retired Presbyterian minister who was a "close friend of Mr. Rogers and the voice of Mr. Platypus on his show", read Rogers's favorite Bible passages. Rogers was interred at Unity Cemetery in Latrobe, Pennsylvania, in a mausoleum owned by his mother's family. On May 3, 2003, a public memorial was held at Heinz Hall in Pittsburgh. According to the Post-Gazette, 2,700 people attended. Violinist Itzhak Perlman, cellist Yo-Yo Ma (via video), and organist Alan Morrison performed in honor of Rogers. Barker officiated the service; also in attendance were Pittsburgh philanthropist Elsie Hillman, former Good Morning America host David Hartman, The Very Hungry Caterpillar author Eric Carle, and Arthur creator Marc Brown. Businesswoman and philanthropist Teresa Heinz, PBS President Pat Mitchell, and executive director of The Pittsburgh Project Saleem Ghubril gave remarks. Jeff Erlanger, who at age 10 appeared on Mister Rogers' Neighborhood in 1981 to explain his electric wheelchair, also spoke. The memorial was broadcast several times on Pittsburgh television stations and websites throughout the day. Legacy Marc Brown, creator of another PBS children's show, Arthur, considered Rogers both a friend and "a terrific role model for how to use television and the media to be helpful to kids and families". Josh Selig, creator of Wonder Pets, credits Rogers with influencing his use of structure and predictability, and his use of music, opera, and originality. Rogers inspired Angela Santomero, co-creator of the children's television show Blue's Clues, to earn a degree in developmental psychology and go into educational television. She and the other producers of Blue's Clues used many of Rogers's techniques, such as using child developmental and educational research, and having the host speak directly to the camera and transition to a make-believe world. In 2006, three years after Rogers's death and the end of production of Blue's Clues, the Fred Rogers Company contacted Santomero to create a show that would promote Rogers's legacy. In 2012, Daniel Tiger's Neighborhood, with characters from and based upon Mister Rogers' Neighborhood, premiered on PBS. Rogers's style and approach to children's television and early childhood education also "begged to be parodied". Comedian Eddie Murphy parodied Mister Rogers' Neighborhood on Saturday Night Live during the 1980s. Rogers told interviewer David Letterman in 1982 that he believed parodies like Murphy's were done "with kindness in their hearts". Video of Rogers's 1969 testimony in defense of public programming has experienced a resurgence since 2012, going viral at least twice. It first resurfaced after then presidential candidate Mitt Romney suggested cutting funding for PBS. In 2017, video of the testimony again went viral after President Donald Trump proposed defunding several arts-related government programs including PBS and the National Endowment for the Arts. A roadside Pennsylvania Historical Marker dedicated to Rogers to be installed in Latrobe was approved by the Pennsylvania Historical and Museum Commission on March 4, 2014. It was installed on June 11, 2016, with the title "Fred McFeely Rogers (1928–2003)". In 2018, Won't You Be My Neighbor?, director Morgan Neville's documentary about Rogers's life, grossed over $22 million and became the top-grossing biographical documentary ever produced, the highest-grossing documentary in five years, and the 12th largest-grossing documentary ever produced. The 2019 drama film A Beautiful Day in the Neighborhood tells the story of Rogers and his television series, with Tom Hanks portraying Rogers. According to Caitlin Gibson of The Washington Post, Rogers became a source for parenting advice; she called him "a timeless oracle against a backdrop of ever-shifting parenting philosophies and cultural trends". Robert Thompson of Syracuse University noted that Rogers "took American childhood—and I think Americans in general—through some very turbulent and trying times", from the Vietnam War and the assassination of Robert Kennedy in 1968 to the 9/11 attacks in 2001. According to Asia Simone Burns of National Public Radio, in the years following the end of production on Mister Rogers' Neighborhood in 2001, and his death in 2003, Rogers became "a source of comfort, sometimes in the wake of tragedy". Burns has said Rogers's words of comfort "began circulating on social media" following tragedies such as the Sandy Hook Elementary School shooting in 2012, the Manchester Arena bombing in Manchester, England, in 2017, and the Stoneman Douglas High School shooting in Parkland, Florida, in 2018. Awards and honors Museum exhibits Smithsonian Institution permanent collection. In 1984, Rogers donated one of his sweaters to the Smithsonian. Children's Museum of Pittsburgh. Exhibit created by Rogers and FCI in 1998. It attracted hundreds of thousand of visitors over 10 years, and included, from Mister Rogers' Neighborhood, one of his sweaters, a pair of his sneakers, original puppets from the program, and photographs of Rogers. The exhibit traveled to children's museums throughout the country for eight years until it was given to the Louisiana Children's Museum in New Orleans as a permanent exhibit, to help them recover from Hurricane Katrina in 2005. In 2007, the Children's Museum of Pittsburgh created a traveling exhibit based on the factory tours featured in episodes of Mister Rogers' Neighborhood. Heinz History Center permanent collection (2018). In honor of the 50th anniversary of Mister Rogers' Neighborhood and what would have been Rogers's 90th birthday. Louisiana Children's Museum. The museum contains an exhibit of Mister Rogers' Neighborhood, which debuted in 2007. The exhibit was donated by the Children's Museum of Pittsburgh. Fred Rogers Exhibit. The Exhibit displays the life, career and legacy of Rogers and includes photos, artifacts from Mister Rogers' Neighborhood and clips of the program and interviews featuring Rogers. It is located at the Fred Rogers Center. Art pieces There are several pieces of art dedicated to Rogers throughout Pittsburgh, including a 7,000-pound, 11-foot high bronze statue of him in the North Shore neighborhood. In the Oakland neighborhood, his portrait is included in the Martin Luther King Jr. and "Interpretations of Oakland" murals. A statue of a dinosaur titled "Fredasaurus Rex Friday XIII" originally stood in front of the WQED building and as of 2014 stands in front of the building that contains the Fred Rogers Company offices. There is a "Mister Rogers' Neighborhood of Make-Believe" in Idlewild Park and a kiosk of Mister Rogers' Neighborhood artifacts at Pittsburgh International Airport. The Carnegie Science Center's Miniature Railroad and Village debuted a miniature recreation of Rogers's house from Mister Rogers' Neighborhood in 2005. Honorary degrees Rogers has received honorary degrees from over 43 colleges and universities. After 1973, two commemorative quilts, created by two of Rogers's friends and archived at the Fred Rogers Center at St. Vincent College in Latrobe, were made out of the academic hoods he received during the graduation ceremonies. Note: Much of the below list is taken from "Honorary Degrees Awarded to Fred Rogers", unless otherwise stated. Thiel College, 1969. Thiel also awards a yearly scholarship named for Rogers. Eastern Michigan University, 1973 Saint Vincent College, 1973 Christian Theological Seminary, 1973 Rollins College, 1974 Yale University, 1974 Chatham College, 1975 Carnegie Mellon University, 1976 Lafayette College, 1977 Waynesburg College, 1978 Linfield College, 1982 Slippery Rock State College, 1982 Duquesne University, 1982 Washington & Jefferson College, 1984 University of South Carolina, 1985 Hobart and William Smith Colleges, 1985 Drury College, 1986 MacMurray College, 1986 Bowling Green State University, 1987 Westminster College (Pennsylvania), 1987 University of Indianapolis, 1988 University of Connecticut, 1991 Boston University, 1992 Indiana University of Pennsylvania, 1992 Moravian College, 1992 Goucher College, 1993 University of Pittsburgh, 1993 West Virginia University, 1995 North Carolina State University, 1996 Edinboro University of Pennsylvania, 1998 Marist College, 1999 Westminster Choir College, 1999 Old Dominion University, 2000 Marquette University, 2001 Middlebury College, 2001 Dartmouth College, 2002 Seton Hill University, 2003 (posthumous) Union College, 2003 (posthumous) Roanoke College, 2003 (posthumous) Filmography Television {\|class="wikitable sortable" \|- ! Year ! Title \|- \| 1954–1961 \| The Children's Corner \|- \| 1963–1966 \| Misterogers \|- \| 1964–1967 \| Butternut Square \|- \| 1968–2001 \| Mister Rogers' Neighborhood \|- \| 1977–1982 \| Christmastime with Mister Rogers \|- \| 1978–1981 \| Old Friends... New Friends \|- \| 1981 \| Sesame Street \|- \| 1988 \| Good Night, Little Ones! \|- \| 1991 \| Where in the World Is Carmen Sandiego? \|- \| 1994 \|Mr. Dressup's 25th Anniversary\|- \| 1994 \| Fred Rogers' Heroes\|- \| 1996 \| Dr. Quinn, Medicine Woman\|- \| 1997 \| Arthur\|- \| 1998 \| Wheel of Fortune\|- \| 2003 \| 114th Annual Tournament of Roses Parade\|} Published works Children's books Our Small World (with Josie Carey, illustrated by Norb Nathanson), 1954, Reed and Witting, The Elves, the Shoemaker, & the Shoemaker's Wife (illustrated by Richard Hefter), 1973, Small World Enterprises, The Matter of the Mittens, 1973, Small World Enterprises, Speedy Delivery (illustrated by Richard Hefter), 1973, Hubbard, Henrietta Meets Someone New (illustrated by Jason Art Studios), 1974, Golden Press, Mister Rogers Talks About, 1974, Platt & Munk, Time to Be Friends, 1974, Hallmark Cards, Everyone is Special (illustrated by Jason Art Studios), 1975, Western Publishing, Tell Me, Mister Rogers, 1975, Platt & Munk, The Costume Party (illustrated by Jason Art Studios), 1976, Golden Press, Planet Purple (illustrated by Dennis Hockerman), 1986, Texas Instruments, If We Were All the Same (illustrated by Pat Sustendal), 1987, Random House, A Trolley Visit to Make-Believe (illustrated by Pat Sustendal), 1987, Random House, Wishes Don't Make Things Come True (illustrated Pat Sustendal), 1987, Random House, No One Can Ever Take Your Place (illustrated by Pat Sustendal), 1988, Random House, When Monsters Seem Real (illustrated by Pat Sustendal), 1988, Random House, You Can Never Go Down the Drain (illustrated by Pat Sustendal), 1988, Random House, The Giving Box (illustrated by Jennifer Herbert), 2000, Running Press, Good Weather or Not (with Hedda Bluestone Sharapan, illustrated by James Mellet), 2005, Family Communications, Josephine the Short Neck-Giraffe, 2006, Family Communications, A Beautiful Day in the Neighborhood: The Poetry of Mister Rogers Neighborhood (illustrated by Luke Flowers), 2009, Quirk Books, First Experiences series illustrated by Jim Judkis Going to Day Care, 1985, Putnam, The New Baby, 1985, Putnam, Going to the Potty, 1986, Putnam, Going to the Doctor, 1986, Putnam, Making Friends, 1987, Putnam, Moving, 1987, Putnam, Going to the Hospital, 1988, Putnam, When a Pet Dies, 1988, Putnam, Going on an Airplane, 1989, Putnam, Going to the Dentist, 1989, Putnam, Let's Talk About It series Going to the Hospital, 1977, Family Communications, Having an Operation, 1977, Family Communications, So Many Things To See!, 1977, Family Communications, Wearing a Cast, 1977, Family Communications, Adoption, 1993, Putnam, Divorce, 1994, Putnam, Extraordinary Friends, 2000, Putnam, Stepfamilies, 2001, Putnam, Songbooks Tomorrow on the Children's Corner (with Josie Carey, illustrated by Mal Wittman), 1960, Vernon Music Corporation, Mister Rogers' Songbook (with Johnny Costa, illustrated by Steven Kellogg), 1970, Random House, Books for adults Mister Rogers Talks to Parents, 1983, Family Communications, Mister Rogers' Playbook (with Barry Head, illustrated by Jamie Adams), 1986, Berkley Books, Mister Rogers Talks with Families About Divorce (with Clare O'Brien), 1987, Berkley Books, Mister Rogers' How Families Grow (with Barry Head and Jim Prokell), 1988, Berkley Books, You Are Special: Words of Wisdom from America's Most Beloved Neighbor, 1994, Penguin Books, Dear Mister Rogers, 1996, Penguin Books, Mister Rogers' Playtime, 2001, Running Press, The Mister Rogers Parenting Book, 2002, Running Press, You are special: Neighborly Wisdom from Mister Rogers, 2002, Running Press, The World According to Mister Rogers, 2003, Hyperion Books, Life's Journeys According to Mister Rogers, 2005, Hyperion Books, The Mister Rogers Parenting Resource Book, 2005, Courage Books, Many Ways to Say I Love You: Wisdom For Parents And Children, 2019, Hachette Books, Discography Around the Children's Corner (with Josey Carey), 1958, Vernon Music Corporation, Tomorrow on the Children's Corner (with Josie Carey), 1959 King Friday XIII Celebrates, 1964 Won't You Be My Neighbor?, 1967 Let's Be Together Today, 1968 Josephine the Short-Neck Giraffe, 1969 You Are Special, 1969 A Place of Our Own, 1970 Come On and Wake Up, 1972 Growing, 1992 Bedtime, 1992 Won't You Be My Neighbor? (cassette and book), 1994, Hal Leonard, Coming and Going, 1997 It's Such A Good Feeling: The Best Of Mister Rogers, 2019, Omnivore Recordings, posthumous release See also Won't You Be My Neighbor?, 2018 documentary Mister Rogers: It's You I Like, 2018 documentary A Beautiful Day in the Neighborhood, 2019 biographical drama film List of vegetarians Notes References Works cited Gross, Terry (1984). "Terry Gross and Fred Rogers". Fresh Air. NPR. King, Maxwell (2018). The Good Neighbor: The Life and Work of Fred Rogers. Abrams Press. . Tiech, John (2012). Pittsburgh Film History: On Set in the Steel City''. Charleston, North Carolina: The History Press. . External links PBS Kids: Official Site The Fred M. Rogers Center The Fred Rogers Company (formerly known as Family Communications) 1984 interview with Fred Rogers. The Music of Mister Rogers—Pittsburgh Music History Fred Rogers at Voice Chasers 1928 births 2003 deaths 20th-century American composers 20th-century American male actors 20th-century American male writers 20th-century American singers 20th-century Presbyterians 21st-century Presbyterians American children's television presenters American male composers American male singers American male songwriters American male television actors American male voice actors American philanthropists American Presbyterian ministers American Presbyterians American puppeteers American television hosts Burials in Pennsylvania Christianity in Pittsburgh Columbia Records artists Dartmouth College alumni Daytime Emmy Award winners Deaths from cancer in Pennsylvania Deaths from stomach cancer Male actors from Pittsburgh Omnivore Recordings artists PBS people Peabody Award winners Pennsylvania Republicans People from Latrobe, Pennsylvania Pittsburgh Theological Seminary alumni Presbyterians from Pennsylvania Presidential Medal of Freedom recipients Rollins College alumni Singers from Pennsylvania Songwriters from Pennsylvania Television personalities from Pittsburgh Television producers from Pennsylvania United Presbyterian Church in the United States of America ministers Vegetarianism activists Writers from Pittsburgh Articles containing video clips	false	[ "David Alexander Newell (born November 24, 1938) is an American television actor known primarily for his portrayal of Mr. McFeely, the delivery man on Mister Rogers' Neighborhood and worked in the public relations department of Fred Rogers Productions. His character's most famous catchphrase was \"Speedy Delivery!\" He toured the country until he retired in 2015, promoting Mister Rogers' Neighborhood as Mr. McFeely.\n\nLife\nNewell was born in O'Hara Township, Pennsylvania, a suburb of Pittsburgh. A graduate of the University of Pittsburgh, he was the director of public relations for Fred Rogers Productions. Newell still resides in O'Hara Township with his wife Nan. They have a daughter, Catherine; two sons, Taylor and Alex; and four grandchildren.\n\nCareer\nNewell began his acting career at a theatre school known as the Pittsburgh Playhouse. Through connections made there, he eventually met Fred Rogers. Newell was originally hired onto the show as a public relations manager, but Rogers also cast him in the role of Mr. McFeely. As a result, he and Rogers became lifelong friends until Rogers' death in 2003.\n\nA documentary feature about Newell entitled Speedy Delivery, which chronicles his travels around the world as Mr. McFeely, debuted on public television in 2008.\n\nAn animated version of Mr. McFeely is a recurring character on the new PBS series Daniel Tiger's Neighborhood. Canadian actor Derek McGrath performs the voice.\n\nIn 2017, Newell appeared as a special guest on the live-action children's web series, Danny Joe's Tree House.\n\nNewell made a cameo in the Fred Rogers biopic A Beautiful Day in the Neighborhood.\n\nQuotes\n\"Working with Fred Rogers was like receiving a master’s degree in child development. Fred taught by example, and he was subtle—but suddenly you’d realize that, after working side by side with him, your knowledge base had expanded almost beyond description.\"\n\n\"What I like about Danny Joe's Tree House is that children can interact with a live person. Danny is a big kid at heart and I think that is very helpful. In today's world where everything is virtual and robotic, here's a person giving original thoughts and ideas.\"\n\nReferences\n\nExternal links\n\nA downloadable audio interview with Mr. McFeely actor and Family Communications Inc. Public Relations Director David Newell. From Wisconsin Public Television.\n\nLiving people\n1938 births\nAmerican male television actors\nUniversity of Pittsburgh alumni\nPeople from Allegheny County, Pennsylvania\nMale actors from Pennsylvania\nPeople from Fox Chapel, Pennsylvania", "\"What Do You Do with the Mad That You Feel?\" is a song written and sung by PBS personality Fred Rogers in the PBS children's television program Mister Rogers' Neighborhood. Rogers recited the song in testimony before the United States Senate in 1969, early in the funding process of PBS, during an exchange with Senator John Pastore. Footage of the hearing was included in the 2018 documentary about Rogers, Won't You Be My Neighbor?\n\nRogers gave several stories for the origin of the song, but when he testified to the Senate, he said that the title and first line came from a question Rogers received from a concerned boy, who asked \"What do you do with the mad that you feel when you feel so mad you could bite?\" \n\nThe song first appeared on his program in 1968.\n\nExternal links \n\n Lyrics (archived webpage from PBS Kids)\n\nReferences\n\nAmerican children's songs\nFred Rogers\nArticles containing video clips\n1968 songs" ]
[ "Fred Rogers", "VCR", "what is fred rogers most known for?", "Rogers was involved in supporting the manufacturers of VCRs in court." ]	C_f973880c74e14646b417dd7804c9af66_0	how did he support them?	2	How did Fred Rogers support the manufacturers of VCRs in court?	Fred Rogers	During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER	His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs,	Fred McFeely Rogers (March 20, 1928 – February 27, 2003), also known as Mister Rogers, was an American television host, author, producer, and Presbyterian minister. He was the creator, showrunner, and host of the preschool television series Mister Rogers' Neighborhood, which ran from 1968 to 2001. Born in Latrobe, Pennsylvania, near Pittsburgh, Rogers earned a bachelor's degree in music from Rollins College in 1951. He began his television career at NBC in New York, returning to Pittsburgh in 1953 to work for children's programming at NET (later PBS) television station WQED. He graduated from Pittsburgh Theological Seminary with a bachelor's degree in divinity in 1962 and became a Presbyterian minister in 1963. He attended the University of Pittsburgh's Graduate School of Child Development, where he began his 30-year collaboration with child psychologist Margaret McFarland. He also helped develop the children's shows The Children's Corner (1955) for WQED in Pittsburgh and Misterogers (1963) in Canada for the Canadian Broadcasting Corporation. In 1968, he returned to Pittsburgh and adapted the format of his Canadian series to create Mister Rogers' Neighborhood, which ran for 33 years. The program was critically acclaimed for focusing on children's emotional and physical concerns, such as death, sibling rivalry, school enrollment, and divorce. Rogers died of stomach cancer on February 27, 2003, at age 74. His work in children's television has been widely lauded, and he received more than 40 honorary degrees and several awards, including the Presidential Medal of Freedom in 2002 and a Lifetime Achievement Emmy in 1997. He was inducted into the Television Hall of Fame in 1999. Rogers influenced many writers and producers of children's television shows, and his broadcasts have served as a source of comfort during tragic events, even after his death. Early life Rogers was born on March 20, 1928, in Latrobe, Pennsylvania, about outside of Pittsburgh, at 705 Main Street to James and Nancy Rogers. James was "a very successful businessman" who was president of the McFeely Brick Company, one of Latrobe's largest businesses. Nancy's father, Fred Brooks McFeely, after whom Rogers was named, was an entrepreneur. Nancy knitted sweaters for American soldiers from western Pennsylvania who were fighting in Europe and regularly volunteered at the Latrobe Hospital. Initially, dreaming of becoming a doctor, she settled for a life of hospital volunteer work. Rogers grew up in a three-story brick mansion at 737 Weldon Street in Latrobe. He had a sister, Elaine, whom the Rogerses adopted when he was 11 years old. Rogers spent much of his childhood alone, playing with puppets, and also spent time with his grandfather. He began to play the piano when he was five years old. Through an ancestor who immigrated from Germany to the U.S., Johannes Meffert (born 1732), Rogers is the sixth cousin of American actor Tom Hanks, who portrays him in the film A Beautiful Day in the Neighborhood (2019). Rogers had a difficult childhood. He was shy, introverted, and overweight, and was frequently homebound after suffering bouts of asthma. He was bullied and taunted as a child for his weight, and called "Fat Freddy". According to Morgan Neville, director of the 2018 documentary Won't You Be My Neighbor?, Rogers had a "lonely childhood... I think he made friends with himself as much as he could. He had a ventriloquist dummy, he had [stuffed] animals, and he would create his own worlds in his childhood bedroom". Rogers attended Latrobe High School, where he overcame his shyness. "It was tough for me at the beginning," Rogers told NPR's Terry Gross in 1984. "And then I made a couple friends who found out that the core of me was okay. And one of them was... the head of the football team". Rogers served as president of the student council, was a member of the National Honor Society, and was editor-in-chief of the school yearbook. He registered for the draft in Greensburg, Pennsylvania, in 1948 at age 20, where he was classified as “1-A”, available for military service. However, his status was changed to “4-F”, unfit for military service, following an Armed Forces physical on October 12, 1950. Rogers attended Dartmouth College for one year before transferring to Rollins College in Winter Park, Florida; he graduated magna cum laude in 1951 with a Bachelor of Music. Rogers graduated magna cum laude from Pittsburgh Theological Seminary in 1962 with a Bachelor of Divinity. He was ordained a minister by the Pittsburgh Presbytery of the United Presbyterian Church in 1963. His mission as an ordained minister, instead of being a pastor of a church, was to minister to children and their families through television. He regularly appeared before church officials to keep up his ordination. Career Early work Rogers wanted to enter seminary after college, but instead chose to go into the nascent medium of television after encountering a TV at his parents' home in 1951 during his senior year at Rollins College. In a CNN interview, he said, "I went into television because I hated it so, and I thought there's some way of using this fabulous instrument to nurture those who would watch and listen". After graduating in 1951, he worked at NBC in New York City as floor director of Your Hit Parade, The Kate Smith Hour, and Gabby Hayes's children's show, and as an assistant producer of The Voice of Firestone. In 1953, Rogers returned to Pittsburgh to work as a program developer at public television station WQED. Josie Carey worked with him to develop the children's show The Children's Corner, which Carey hosted. Rogers worked off-camera to develop puppets, characters, and music for the show. He used many of the puppet characters developed during this time, such as Daniel the Striped Tiger (named after WQED's station manager, Dorothy Daniel, who gave Rogers a tiger puppet before the show's premiere), King Friday XIII, Queen Sara Saturday (named after Rogers's wife), X the Owl, Henrietta, and Lady Elaine, in his later work. Children's television entertainer Ernie Coombs was an assistant puppeteer. The Children's Corner won a Sylvania Award for best locally produced children's programming in 1955 and was broadcast nationally on NBC. While working on The Children's Corner, Rogers attended Pittsburgh Theological Seminary, and was ordained as a Presbyterian minister in 1963. He also attended the University of Pittsburgh's Graduate School of Child Development, where he began working with child psychologist Margaret McFarland, who according to Rogers's biographer Maxwell King became his "key advisor and collaborator" and "child-education guru". Much of Rogers's "thinking about and appreciation for children was shaped and informed" by McFarland. She was his consultant for most of Mister Rogers' Neighborhoods scripts and songs for 30 years. In 1963, the Canadian Broadcasting Corporation (CBC) in Toronto contracted Rogers to develop and host the 15-minute black-and-white children's program Misterogers; it lasted from 1963 to 1967. It was the first time Rogers appeared on camera. CBC's children's programming head Fred Rainsberry insisted on it, telling Rogers, "Fred, I've seen you talk with kids. Let's put you yourself on the air". Coombs joined Rogers in Toronto as an assistant puppeteer. Rogers also worked with Coombs on the children's show Butternut Square from 1964 to 1967. He acquired the rights to Misterogers in 1967 and returned to Pittsburgh with his wife, two young sons, and the sets he developed, despite a potentially promising career with CBC and no job prospects in Pittsburgh. On Rogers' recommendation, Coombs remained in Toronto and became Rogers' Canadian equivalent of an iconic television personality, creating the long-running children's program, Mr. Dressup, which ran from 1967 to 1996. Rogers's work for CBC "helped shape and develop the concept and style of his later program for the Public Broadcasting Service (PBS) in the U.S." Mister Rogers' Neighborhood Mister Rogers' Neighborhood (also called the Neighborhood), a half-hour educational children's program starring Rogers, began airing nationally in 1968 and ran for 895 episodes. The program was videotaped at WQED in Pittsburgh and was broadcast by National Educational Television (NET), which later became the Public Broadcasting Service (PBS). Its first season had 180 black-and-white episodes. Each subsequent season, filmed in color and funded by PBS, the Sears-Roebuck Foundation, and other charities, consisted of 65 episodes. By the time the program ended production in December 2000, its average rating was about 0.7 percent of television households, or 680,000 homes, and it aired on 384 PBS stations. At its peak in 1985–1986, its ratings were at 2.1 percent, or 1.8 million homes. Production of the Neighborhood ended in December 2000, and the last original episode aired in 2001, but PBS continued to air reruns; by 2016 it was the third-longest running program in PBS history. Many of the sets and props in Mister Rogers' Neighborhood, like the trolley, the sneakers, and the castle, were created for Rogers's show in Toronto by CBC designers and producers. The program also "incorporated most of the highly imaginative elements that later became famous", such as its slow pace and its host's quiet manner. The format of Mister Rogers' Neighborhood "remained virtually unchanged" for the entire run of the program. Every episode begins with a camera's-eye view of a model of a neighborhood, then panning in closer to a representation of a house while a piano instrumental of the theme song, "Won't You be My Neighbor?", performed by music director Johnny Costa and inspired by a Beethoven sonata, is played. The camera zooms in to a model representing Mr. Rogers's house, then cuts to the house's interior and pans across the room to the front door, which Rogers opens as he sings the theme song to greet his visitors while changing his suit jacket to a cardigan (knitted by his mother) and his dress shoes to sneakers, "complete with a shoe tossed from one hand to another". The episode's theme is introduced, and Mr. Rogers leaves his home to visit another location, the camera panning back to the neighborhood model and zooming in to the new location as he enters it. Once this segment ends, Mr. Rogers leaves and returns to his home, indicating that it is time to visit the Neighborhood of Make-Believe. Mr. Rogers proceeds to the window seat by the trolley track and sets up the action there as the Trolley comes out. The camera follows it down a tunnel in the back wall of the house as it enters the Neighborhood of Make-Believe. The stories and lessons told take place over a series of a week's worth of episodes and involve puppet and human characters. The end of the visit occurs when the Trolley returns to the same tunnel from which it emerged, reappearing in Mr. Rogers's home. He then talks to the viewers before concluding the episode. He often feeds his fish, cleans up any props he has used, and returns to the front room, where he sings the closing song while changing back into his dress shoes and jacket. He exits the front door as he ends the song, and the camera zooms out of his home and pans across the neighborhood model as the episode ends. Mister Rogers' Neighborhood emphasized young children's social and emotional needs, and unlike another PBS show, Sesame Street, which premiered in 1969, did not focus on cognitive learning. Writer Kathy Merlock Jackson said, "While both shows target the same preschool audience and prepare children for kindergarten, Sesame Street concentrates on school-readiness skills while Mister Rogers Neighborhood focuses on the child's developing psyche and feelings and sense of moral and ethical reasoning". The Neighborhood also spent fewer resources on research than Sesame Street, but Rogers used early childhood education concepts taught by his mentor Margaret McFarland, Benjamin Spock, Erik Erikson, and T. Berry Brazelton in his lessons. As the Washington Post noted, Rogers taught young children about civility, tolerance, sharing, and self-worth "in a reassuring tone and leisurely cadence". He tackled difficult topics such as the death of a family pet, sibling rivalry, the addition of a newborn into a family, moving and enrolling in a new school, and divorce. For example, he wrote a special segment that dealt with the assassination of Robert F. Kennedy that aired on June 7, 1968, days after the assassination occurred. According to King, the process of putting each episode of Mister Rogers' Neighborhood together was "painstaking" and Rogers's contribution to the program was "astounding". Rogers wrote and edited all the episodes, played the piano and sang for most of the songs, wrote 200 songs and 13 operas, created all the characters (both puppet and human), played most of the major puppet roles, hosted every episode, and produced and approved every detail of the program. The puppets created for the Neighborhood of Make-Believe "included an extraordinary variety of personalities". They were simple puppets but "complex, complicated, and utterly honest beings". In 1971, Rogers formed Family Communications, Inc. (FCI, now The Fred Rogers Company), to produce the Neighborhood, other programs, and non-broadcast materials. In 1975, Rogers stopped producing Mr. Rogers' Neighborhood to focus on adult programming. Reruns of the Neighborhood continued to air on PBS. King reports that the decision caught many of his coworkers and supporters "off guard". Rogers continued to confer with McFarland about child development and early childhood education, however. In 1979, after an almost five-year hiatus, Rogers returned to producing the Neighborhood; King calls the new version "stronger and more sophisticated than ever". King writes that by the program's second run in the 1980s, it was "such a cultural touchstone that it had inspired numerous parodies", most notably Eddie Murphy's parody on Saturday Night Live in the early 1980s. Rogers retired from producing the Neighborhood in 2001 at age 73, although reruns continued to air. He and FCI had been making about two or three weeks of new programs per year for many years, "filling the rest of his time slots from a library of about 300 shows made since 1979". The final original episode of Mister Rogers' Neighborhood aired on August 31, 2001. Other work and appearances In 1969, Rogers testified before the U.S. Senate Subcommittee on Communications, which was chaired by Democratic Senator John Pastore of Rhode Island. U.S. President Lyndon Johnson had proposed a $20 million bill for the creation of PBS before he left office, but his successor, Richard Nixon, wanted to cut the funding to $10 million. Even though Rogers was not yet nationally known, he was chosen to testify because of his ability to make persuasive arguments and to connect emotionally with his audience. The clip of Rogers's testimony, which was televised and has since been viewed by millions of people on the internet, helped to secure funding for PBS for many years afterwards. According to King, Rogers's testimony was "considered one of the most powerful pieces of testimony ever offered before Congress, and one of the most powerful pieces of video presentation ever filmed". It brought Pastore to tears and also, according to King, has been studied by public relations experts and academics. Congressional funding for PBS increased from $9 million to $22 million. In 1970, Nixon appointed Rogers as chair of the White House Conference on Children and Youth. In 1978, while on hiatus from Mister Rogers' Neighborhood, Rogers wrote, produced, and hosted a 30-minute interview program for adults on PBS called Old Friends... New Friends. It lasted 20 episodes. Rogers's guests included Hoagy Carmichael, Helen Hayes, Milton Berle, Lorin Hollander, poet Robert Frost's daughter Lesley, and Willie Stargell. In September 1987, Rogers visited Moscow to appear as the first guest on the long-running Soviet children's TV show Good Night, Little Ones! with host Tatiana Vedeneyeva. The appearance was broadcast in the Soviet Union on December 7, coinciding with the Washington Summit meeting between Soviet leader Mikhail Gorbachev and U.S. President Ronald Reagan in Washington D.C. Vedeneyeva visited the set of Mister Rogers' Neighborhood in November. Her visit was taped and later aired in March 1988 as part of Rogers's program. In 1994, Rogers wrote, produced, and hosted a special for PBS called Fred Rogers' Heroes, which featured interviews and portraits of four people from across the country who were having a positive impact on children and education. The first time Rogers appeared on television as an actor, and not himself, was in a 1996 episode of Dr. Quinn, Medicine Woman, playing a preacher. Rogers gave "scores of interviews". Though reluctant to appear on television talk shows, he would usually "charm the host with his quick wit and ability to ad-lib on a moment's notice". Rogers was "one of the country's most sought-after commencement speakers", making over 150 speeches. His friend and colleague David Newell reported that Rogers would "agonize over a speech", and King reported that Rogers was at his least guarded during his speeches, which were about children, television, education, his view of the world, how to make the world a better place, and his quest for self-knowledge. His tone was quiet and informal but "commanded attention". In many speeches, including the ones he made accepting a Lifetime Achievement Emmy in 1997, for his induction into the Television Hall of Fame in 1999, and his final commencement speech at Dartmouth College in 2002, he instructed his audiences to remain silent and think for a moment about someone who had a good influence on them. Personal life Rogers met Sara Joanne Byrd (called "Joanne") from Jacksonville, Florida, while attending Rollins College. They were married from 1952 until his death in 2003. They had two sons, James and John. Joanne was "an accomplished pianist", who like Fred earned a Bachelor of Music from Rollins, and went on to earn a Master of Music from Florida State University. She performed publicly with her college classmate, Jeannine Morrison, from 1976 to 2008. According to biographer Maxwell King, Rogers's close associates said he was "absolutely faithful to his marriage vows". Rogers was red-green color-blind. He became a pescatarian in 1970, after the death of his father, and a vegetarian in the early 1980s, saying he "couldn't eat anything that had a mother". He became a co-owner of Vegetarian Times in the mid-1980s and said in one issue, "I love tofu burgers and beets". He told Vegetarian Times that he became a vegetarian for both ethical and health reasons. According to his biographer Maxwell King, Rogers also signed his name to a statement protesting wearing animal furs. Rogers was a registered Republican, but according to Joanne Rogers, he was "very independent in the way he voted", choosing not to talk about politics because he wanted to be impartial. Rogers was a Presbyterian, and many of the messages he expressed in Mister Rogers' Neighborhood were inspired by the core tenets of Christianity. Rogers rarely spoke about his faith on air; he believed that teaching through example was as powerful as preaching. He said, "You don't need to speak overtly about religion in order to get a message across". According to writer Shea Tuttle, Rogers considered his faith a fundamental part of his personality and "called the space between the viewer and the television set 'holy ground'". But despite his strong faith, Rogers struggled with anger, conflict, and self-doubt, especially at the end of his life. He also studied Catholic mysticism, Judaism, Buddhism, and other faiths and cultures. King called him "that unique television star with a real spiritual life", emphasizing the values of patience, reflection, and "silence in a noisy world". King reported that despite Rogers's family's wealth, he cared little about making money, and lived frugally, especially as he and his wife grew older. King reported that Rogers's relationship with his young audience was important to him. For example, since hosting Misterogers in Canada, he answered every letter sent to him by hand. After Mister Rogers' Neighborhood began airing in the U.S., the letters increased in volume and he hired staff member and producer Hedda Sharapan to answer them, but he read, edited, and signed each one. King wrote that Rogers saw responding to his viewers' letters as "a pastoral duty of sorts". The New York Times called Rogers "a dedicated lap-swimmer", and Tom Junod, author of "Can You Say... Hero?", the 1998 Esquire profile of Rogers, said, "Nearly every morning of his life, Mister Rogers has gone swimming". Rogers began swimming when he was a child at his family's vacation home outside Latrobe, where they owned a pool, and during their winter trips to Florida. King wrote that swimming and playing the piano were "lifelong passions" and that "both gave him a chance to feel capable and in charge of his destiny", and that swimming became "an important part of the strong sense of self-discipline he cultivated". Rogers swam daily at the Pittsburgh Athletic Association, after waking every morning between 4:30 and 5:30 A.M. to pray and to "read the Bible and prepare himself for the day". He did not smoke or drink. According to Junod, he did nothing to change his weight from the he weighed for most of his adult life; by 1998, this also included napping daily, going to bed at 9:30 P.M., and sleeping eight hours per night without interruption. Junod said Rogers saw his weight "as a destiny fulfilled", telling Junod, "the number 143 means 'I love you.' It takes one letter to say 'I' and four letters to say 'love' and three letters to say 'you'". Death and memorials After Rogers's retirement in 2001, he remained busy working with FCI, studying religion and spirituality, making public appearances, traveling, and working on a children's media center named after him at Saint Vincent College in Latrobe with Archabbot Douglas Nowicki, chancellor of the college. By the summer of 2002, his chronic stomach pain became severe enough for him to see a doctor about it, and in October 2002, he was diagnosed with stomach cancer. He delayed treatment until after he served as Grand Marshal of the 2003 Rose Parade, with Art Linkletter and Bill Cosby in January. On January 6, Rogers underwent stomach surgery. He died less than two months later, on February 27, 2003, one month before his 75th birthday, at his home in Pittsburgh, with his wife of 50 years, Joanne, at his side. While comatose shortly before his death, he received the last rites of the Catholic Church from Archabbot Nowicki. The following day, the Pittsburgh Post-Gazette covered Rogers's death on the front page and dedicated an entire section to his death and impact. The newspaper also reported that by noon, the internet "was already full of appreciative pieces" by parents, viewers, producers, and writers. Rogers's death was widely lamented. Most U.S. metropolitan newspapers ran his obituary on their front page, and some dedicated entire sections to coverage of his death. WQED aired programs about Rogers the evening he died; the Post-Gazette reported that the ratings for their coverage were three times higher than their normal ratings. That same evening, Nightline on ABC broadcast a rerun of a recent interview with Rogers; the program got the highest ratings of the day, beating the February average ratings of Late Show with David Letterman and The Tonight Show with Jay Leno. On March 4, the U.S. House of Representatives unanimously passed a resolution honoring Rogers sponsored by Representative Mike Doyle from Pennsylvania. On March 1, 2003, a private funeral was held for Rogers in Unity Chapel, which was restored by Rogers's father, at Unity Cemetery in Latrobe. About 80 relatives, co-workers, and close friends attended the service, which "was planned in great secrecy so that those closest to him could grieve in private". Reverend John McCall, pastor of the Rogers family's church, Sixth Presbyterian Church in Squirrel Hill, gave the homily, and Reverend William Barker, a retired Presbyterian minister who was a "close friend of Mr. Rogers and the voice of Mr. Platypus on his show", read Rogers's favorite Bible passages. Rogers was interred at Unity Cemetery in Latrobe, Pennsylvania, in a mausoleum owned by his mother's family. On May 3, 2003, a public memorial was held at Heinz Hall in Pittsburgh. According to the Post-Gazette, 2,700 people attended. Violinist Itzhak Perlman, cellist Yo-Yo Ma (via video), and organist Alan Morrison performed in honor of Rogers. Barker officiated the service; also in attendance were Pittsburgh philanthropist Elsie Hillman, former Good Morning America host David Hartman, The Very Hungry Caterpillar author Eric Carle, and Arthur creator Marc Brown. Businesswoman and philanthropist Teresa Heinz, PBS President Pat Mitchell, and executive director of The Pittsburgh Project Saleem Ghubril gave remarks. Jeff Erlanger, who at age 10 appeared on Mister Rogers' Neighborhood in 1981 to explain his electric wheelchair, also spoke. The memorial was broadcast several times on Pittsburgh television stations and websites throughout the day. Legacy Marc Brown, creator of another PBS children's show, Arthur, considered Rogers both a friend and "a terrific role model for how to use television and the media to be helpful to kids and families". Josh Selig, creator of Wonder Pets, credits Rogers with influencing his use of structure and predictability, and his use of music, opera, and originality. Rogers inspired Angela Santomero, co-creator of the children's television show Blue's Clues, to earn a degree in developmental psychology and go into educational television. She and the other producers of Blue's Clues used many of Rogers's techniques, such as using child developmental and educational research, and having the host speak directly to the camera and transition to a make-believe world. In 2006, three years after Rogers's death and the end of production of Blue's Clues, the Fred Rogers Company contacted Santomero to create a show that would promote Rogers's legacy. In 2012, Daniel Tiger's Neighborhood, with characters from and based upon Mister Rogers' Neighborhood, premiered on PBS. Rogers's style and approach to children's television and early childhood education also "begged to be parodied". Comedian Eddie Murphy parodied Mister Rogers' Neighborhood on Saturday Night Live during the 1980s. Rogers told interviewer David Letterman in 1982 that he believed parodies like Murphy's were done "with kindness in their hearts". Video of Rogers's 1969 testimony in defense of public programming has experienced a resurgence since 2012, going viral at least twice. It first resurfaced after then presidential candidate Mitt Romney suggested cutting funding for PBS. In 2017, video of the testimony again went viral after President Donald Trump proposed defunding several arts-related government programs including PBS and the National Endowment for the Arts. A roadside Pennsylvania Historical Marker dedicated to Rogers to be installed in Latrobe was approved by the Pennsylvania Historical and Museum Commission on March 4, 2014. It was installed on June 11, 2016, with the title "Fred McFeely Rogers (1928–2003)". In 2018, Won't You Be My Neighbor?, director Morgan Neville's documentary about Rogers's life, grossed over $22 million and became the top-grossing biographical documentary ever produced, the highest-grossing documentary in five years, and the 12th largest-grossing documentary ever produced. The 2019 drama film A Beautiful Day in the Neighborhood tells the story of Rogers and his television series, with Tom Hanks portraying Rogers. According to Caitlin Gibson of The Washington Post, Rogers became a source for parenting advice; she called him "a timeless oracle against a backdrop of ever-shifting parenting philosophies and cultural trends". Robert Thompson of Syracuse University noted that Rogers "took American childhood—and I think Americans in general—through some very turbulent and trying times", from the Vietnam War and the assassination of Robert Kennedy in 1968 to the 9/11 attacks in 2001. According to Asia Simone Burns of National Public Radio, in the years following the end of production on Mister Rogers' Neighborhood in 2001, and his death in 2003, Rogers became "a source of comfort, sometimes in the wake of tragedy". Burns has said Rogers's words of comfort "began circulating on social media" following tragedies such as the Sandy Hook Elementary School shooting in 2012, the Manchester Arena bombing in Manchester, England, in 2017, and the Stoneman Douglas High School shooting in Parkland, Florida, in 2018. Awards and honors Museum exhibits Smithsonian Institution permanent collection. In 1984, Rogers donated one of his sweaters to the Smithsonian. Children's Museum of Pittsburgh. Exhibit created by Rogers and FCI in 1998. It attracted hundreds of thousand of visitors over 10 years, and included, from Mister Rogers' Neighborhood, one of his sweaters, a pair of his sneakers, original puppets from the program, and photographs of Rogers. The exhibit traveled to children's museums throughout the country for eight years until it was given to the Louisiana Children's Museum in New Orleans as a permanent exhibit, to help them recover from Hurricane Katrina in 2005. In 2007, the Children's Museum of Pittsburgh created a traveling exhibit based on the factory tours featured in episodes of Mister Rogers' Neighborhood. Heinz History Center permanent collection (2018). In honor of the 50th anniversary of Mister Rogers' Neighborhood and what would have been Rogers's 90th birthday. Louisiana Children's Museum. The museum contains an exhibit of Mister Rogers' Neighborhood, which debuted in 2007. The exhibit was donated by the Children's Museum of Pittsburgh. Fred Rogers Exhibit. The Exhibit displays the life, career and legacy of Rogers and includes photos, artifacts from Mister Rogers' Neighborhood and clips of the program and interviews featuring Rogers. It is located at the Fred Rogers Center. Art pieces There are several pieces of art dedicated to Rogers throughout Pittsburgh, including a 7,000-pound, 11-foot high bronze statue of him in the North Shore neighborhood. In the Oakland neighborhood, his portrait is included in the Martin Luther King Jr. and "Interpretations of Oakland" murals. A statue of a dinosaur titled "Fredasaurus Rex Friday XIII" originally stood in front of the WQED building and as of 2014 stands in front of the building that contains the Fred Rogers Company offices. There is a "Mister Rogers' Neighborhood of Make-Believe" in Idlewild Park and a kiosk of Mister Rogers' Neighborhood artifacts at Pittsburgh International Airport. The Carnegie Science Center's Miniature Railroad and Village debuted a miniature recreation of Rogers's house from Mister Rogers' Neighborhood in 2005. Honorary degrees Rogers has received honorary degrees from over 43 colleges and universities. After 1973, two commemorative quilts, created by two of Rogers's friends and archived at the Fred Rogers Center at St. Vincent College in Latrobe, were made out of the academic hoods he received during the graduation ceremonies. Note: Much of the below list is taken from "Honorary Degrees Awarded to Fred Rogers", unless otherwise stated. Thiel College, 1969. Thiel also awards a yearly scholarship named for Rogers. Eastern Michigan University, 1973 Saint Vincent College, 1973 Christian Theological Seminary, 1973 Rollins College, 1974 Yale University, 1974 Chatham College, 1975 Carnegie Mellon University, 1976 Lafayette College, 1977 Waynesburg College, 1978 Linfield College, 1982 Slippery Rock State College, 1982 Duquesne University, 1982 Washington & Jefferson College, 1984 University of South Carolina, 1985 Hobart and William Smith Colleges, 1985 Drury College, 1986 MacMurray College, 1986 Bowling Green State University, 1987 Westminster College (Pennsylvania), 1987 University of Indianapolis, 1988 University of Connecticut, 1991 Boston University, 1992 Indiana University of Pennsylvania, 1992 Moravian College, 1992 Goucher College, 1993 University of Pittsburgh, 1993 West Virginia University, 1995 North Carolina State University, 1996 Edinboro University of Pennsylvania, 1998 Marist College, 1999 Westminster Choir College, 1999 Old Dominion University, 2000 Marquette University, 2001 Middlebury College, 2001 Dartmouth College, 2002 Seton Hill University, 2003 (posthumous) Union College, 2003 (posthumous) Roanoke College, 2003 (posthumous) Filmography Television {\|class="wikitable sortable" \|- ! Year ! Title \|- \| 1954–1961 \| The Children's Corner \|- \| 1963–1966 \| Misterogers \|- \| 1964–1967 \| Butternut Square \|- \| 1968–2001 \| Mister Rogers' Neighborhood \|- \| 1977–1982 \| Christmastime with Mister Rogers \|- \| 1978–1981 \| Old Friends... New Friends \|- \| 1981 \| Sesame Street \|- \| 1988 \| Good Night, Little Ones! \|- \| 1991 \| Where in the World Is Carmen Sandiego? \|- \| 1994 \|Mr. Dressup's 25th Anniversary\|- \| 1994 \| Fred Rogers' Heroes\|- \| 1996 \| Dr. Quinn, Medicine Woman\|- \| 1997 \| Arthur\|- \| 1998 \| Wheel of Fortune\|- \| 2003 \| 114th Annual Tournament of Roses Parade\|} Published works Children's books Our Small World (with Josie Carey, illustrated by Norb Nathanson), 1954, Reed and Witting, The Elves, the Shoemaker, & the Shoemaker's Wife (illustrated by Richard Hefter), 1973, Small World Enterprises, The Matter of the Mittens, 1973, Small World Enterprises, Speedy Delivery (illustrated by Richard Hefter), 1973, Hubbard, Henrietta Meets Someone New (illustrated by Jason Art Studios), 1974, Golden Press, Mister Rogers Talks About, 1974, Platt & Munk, Time to Be Friends, 1974, Hallmark Cards, Everyone is Special (illustrated by Jason Art Studios), 1975, Western Publishing, Tell Me, Mister Rogers, 1975, Platt & Munk, The Costume Party (illustrated by Jason Art Studios), 1976, Golden Press, Planet Purple (illustrated by Dennis Hockerman), 1986, Texas Instruments, If We Were All the Same (illustrated by Pat Sustendal), 1987, Random House, A Trolley Visit to Make-Believe (illustrated by Pat Sustendal), 1987, Random House, Wishes Don't Make Things Come True (illustrated Pat Sustendal), 1987, Random House, No One Can Ever Take Your Place (illustrated by Pat Sustendal), 1988, Random House, When Monsters Seem Real (illustrated by Pat Sustendal), 1988, Random House, You Can Never Go Down the Drain (illustrated by Pat Sustendal), 1988, Random House, The Giving Box (illustrated by Jennifer Herbert), 2000, Running Press, Good Weather or Not (with Hedda Bluestone Sharapan, illustrated by James Mellet), 2005, Family Communications, Josephine the Short Neck-Giraffe, 2006, Family Communications, A Beautiful Day in the Neighborhood: The Poetry of Mister Rogers Neighborhood (illustrated by Luke Flowers), 2009, Quirk Books, First Experiences series illustrated by Jim Judkis Going to Day Care, 1985, Putnam, The New Baby, 1985, Putnam, Going to the Potty, 1986, Putnam, Going to the Doctor, 1986, Putnam, Making Friends, 1987, Putnam, Moving, 1987, Putnam, Going to the Hospital, 1988, Putnam, When a Pet Dies, 1988, Putnam, Going on an Airplane, 1989, Putnam, Going to the Dentist, 1989, Putnam, Let's Talk About It series Going to the Hospital, 1977, Family Communications, Having an Operation, 1977, Family Communications, So Many Things To See!, 1977, Family Communications, Wearing a Cast, 1977, Family Communications, Adoption, 1993, Putnam, Divorce, 1994, Putnam, Extraordinary Friends, 2000, Putnam, Stepfamilies, 2001, Putnam, Songbooks Tomorrow on the Children's Corner (with Josie Carey, illustrated by Mal Wittman), 1960, Vernon Music Corporation, Mister Rogers' Songbook (with Johnny Costa, illustrated by Steven Kellogg), 1970, Random House, Books for adults Mister Rogers Talks to Parents, 1983, Family Communications, Mister Rogers' Playbook (with Barry Head, illustrated by Jamie Adams), 1986, Berkley Books, Mister Rogers Talks with Families About Divorce (with Clare O'Brien), 1987, Berkley Books, Mister Rogers' How Families Grow (with Barry Head and Jim Prokell), 1988, Berkley Books, You Are Special: Words of Wisdom from America's Most Beloved Neighbor, 1994, Penguin Books, Dear Mister Rogers, 1996, Penguin Books, Mister Rogers' Playtime, 2001, Running Press, The Mister Rogers Parenting Book, 2002, Running Press, You are special: Neighborly Wisdom from Mister Rogers, 2002, Running Press, The World According to Mister Rogers, 2003, Hyperion Books, Life's Journeys According to Mister Rogers, 2005, Hyperion Books, The Mister Rogers Parenting Resource Book, 2005, Courage Books, Many Ways to Say I Love You: Wisdom For Parents And Children, 2019, Hachette Books, Discography Around the Children's Corner (with Josey Carey), 1958, Vernon Music Corporation, Tomorrow on the Children's Corner (with Josie Carey), 1959 King Friday XIII Celebrates, 1964 Won't You Be My Neighbor?, 1967 Let's Be Together Today, 1968 Josephine the Short-Neck Giraffe, 1969 You Are Special, 1969 A Place of Our Own, 1970 Come On and Wake Up, 1972 Growing, 1992 Bedtime, 1992 Won't You Be My Neighbor? (cassette and book), 1994, Hal Leonard, Coming and Going, 1997 It's Such A Good Feeling: The Best Of Mister Rogers, 2019, Omnivore Recordings, posthumous release See also Won't You Be My Neighbor?, 2018 documentary Mister Rogers: It's You I Like, 2018 documentary A Beautiful Day in the Neighborhood, 2019 biographical drama film List of vegetarians Notes References Works cited Gross, Terry (1984). "Terry Gross and Fred Rogers". Fresh Air. NPR. King, Maxwell (2018). The Good Neighbor: The Life and Work of Fred Rogers. Abrams Press. . Tiech, John (2012). Pittsburgh Film History: On Set in the Steel City''. Charleston, North Carolina: The History Press. . External links PBS Kids: Official Site The Fred M. Rogers Center The Fred Rogers Company (formerly known as Family Communications) 1984 interview with Fred Rogers. The Music of Mister Rogers—Pittsburgh Music History Fred Rogers at Voice Chasers 1928 births 2003 deaths 20th-century American composers 20th-century American male actors 20th-century American male writers 20th-century American singers 20th-century Presbyterians 21st-century Presbyterians American children's television presenters American male composers American male singers American male songwriters American male television actors American male voice actors American philanthropists American Presbyterian ministers American Presbyterians American puppeteers American television hosts Burials in Pennsylvania Christianity in Pittsburgh Columbia Records artists Dartmouth College alumni Daytime Emmy Award winners Deaths from cancer in Pennsylvania Deaths from stomach cancer Male actors from Pittsburgh Omnivore Recordings artists PBS people Peabody Award winners Pennsylvania Republicans People from Latrobe, Pennsylvania Pittsburgh Theological Seminary alumni Presbyterians from Pennsylvania Presidential Medal of Freedom recipients Rollins College alumni Singers from Pennsylvania Songwriters from Pennsylvania Television personalities from Pittsburgh Television producers from Pennsylvania United Presbyterian Church in the United States of America ministers Vegetarianism activists Writers from Pittsburgh Articles containing video clips	false	[ "SOS Amitié is a French federation of several regional charitable organizations aimed at providing emotional support to anyone in emotional distress, struggling to cope, or at risk of suicide throughout France, often through their telephone helpline. This helps people with their mental state and how they cope with life, this helps them regain their happiness and helps them fight off the worries and support them in every way in form of their state of their personal life.\n\nExternal links \n\n Website\n\nCharities based in France\n1960 establishments in France", "Lee Bell is an unincorporated community in Randolph County, West Virginia, United States. It was named after my grandfather Leander \"Lee\" Bell, born in 1885 in Joker, Calhoun County, West Virginia. At age 16, he had to go to work to support his mother and 6 siblings when his father died in a fall from a tree. Lee got a job with a timber company cutting some of the remaining stands of virgin timber from West Virginia's forests. When I was a boy in the 1950s, I recall asking him about why they named the \"town\" after him. His reply, and I remember it verbatim, was: \"I beat up the town bully and drove him out.\" My grandfather was a small man, and I asked him how he did it. Again, his reply verbatim: \"I just knocked him down and stomped on him with my loggers boots...Folks were so happy they named the place after me.\" At some point in the 1950s I visited Lee Bell with my parents. We found it from the map (I still have copies of old AAA maps with Lee Bell on them) and stopped to talk to an elderly man on his porch. We asked if he knew the place was called Lee Bell. He said he did, but that he didn't know why. He said it was now called Becky's Creek, named after a little girl named Becky who drowned in the creek that runs through the area. By 1910, Lee Bell had moved to Meigs County in southern Ohio to get a better paying job \"cutting corn.\" He met my grandmother there and married in 1911. He realized that with the advent of the motor car, someone would need to know how to fix them. He bought a few books and taught himself auto mechanics. He became the chief mechanic at the state highway garage in Delaware County, Ohio. After retirement, they moved to Sunbury, Ohio where he died on July 4, 1958.\n\nReferences \n\nUnincorporated communities in West Virginia\nUnincorporated communities in Randolph County, West Virginia" ]
[ "Fred Rogers", "VCR", "what is fred rogers most known for?", "Rogers was involved in supporting the manufacturers of VCRs in court.", "how did he support them?", "His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs," ]	C_f973880c74e14646b417dd7804c9af66_0	what was the case outcome?	3	What was the outcome of the case involving Sony Corp. of America v. Universal City Studios, Inc.?	Fred Rogers	During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER	When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright.	Fred McFeely Rogers (March 20, 1928 – February 27, 2003), also known as Mister Rogers, was an American television host, author, producer, and Presbyterian minister. He was the creator, showrunner, and host of the preschool television series Mister Rogers' Neighborhood, which ran from 1968 to 2001. Born in Latrobe, Pennsylvania, near Pittsburgh, Rogers earned a bachelor's degree in music from Rollins College in 1951. He began his television career at NBC in New York, returning to Pittsburgh in 1953 to work for children's programming at NET (later PBS) television station WQED. He graduated from Pittsburgh Theological Seminary with a bachelor's degree in divinity in 1962 and became a Presbyterian minister in 1963. He attended the University of Pittsburgh's Graduate School of Child Development, where he began his 30-year collaboration with child psychologist Margaret McFarland. He also helped develop the children's shows The Children's Corner (1955) for WQED in Pittsburgh and Misterogers (1963) in Canada for the Canadian Broadcasting Corporation. In 1968, he returned to Pittsburgh and adapted the format of his Canadian series to create Mister Rogers' Neighborhood, which ran for 33 years. The program was critically acclaimed for focusing on children's emotional and physical concerns, such as death, sibling rivalry, school enrollment, and divorce. Rogers died of stomach cancer on February 27, 2003, at age 74. His work in children's television has been widely lauded, and he received more than 40 honorary degrees and several awards, including the Presidential Medal of Freedom in 2002 and a Lifetime Achievement Emmy in 1997. He was inducted into the Television Hall of Fame in 1999. Rogers influenced many writers and producers of children's television shows, and his broadcasts have served as a source of comfort during tragic events, even after his death. Early life Rogers was born on March 20, 1928, in Latrobe, Pennsylvania, about outside of Pittsburgh, at 705 Main Street to James and Nancy Rogers. James was "a very successful businessman" who was president of the McFeely Brick Company, one of Latrobe's largest businesses. Nancy's father, Fred Brooks McFeely, after whom Rogers was named, was an entrepreneur. Nancy knitted sweaters for American soldiers from western Pennsylvania who were fighting in Europe and regularly volunteered at the Latrobe Hospital. Initially, dreaming of becoming a doctor, she settled for a life of hospital volunteer work. Rogers grew up in a three-story brick mansion at 737 Weldon Street in Latrobe. He had a sister, Elaine, whom the Rogerses adopted when he was 11 years old. Rogers spent much of his childhood alone, playing with puppets, and also spent time with his grandfather. He began to play the piano when he was five years old. Through an ancestor who immigrated from Germany to the U.S., Johannes Meffert (born 1732), Rogers is the sixth cousin of American actor Tom Hanks, who portrays him in the film A Beautiful Day in the Neighborhood (2019). Rogers had a difficult childhood. He was shy, introverted, and overweight, and was frequently homebound after suffering bouts of asthma. He was bullied and taunted as a child for his weight, and called "Fat Freddy". According to Morgan Neville, director of the 2018 documentary Won't You Be My Neighbor?, Rogers had a "lonely childhood... I think he made friends with himself as much as he could. He had a ventriloquist dummy, he had [stuffed] animals, and he would create his own worlds in his childhood bedroom". Rogers attended Latrobe High School, where he overcame his shyness. "It was tough for me at the beginning," Rogers told NPR's Terry Gross in 1984. "And then I made a couple friends who found out that the core of me was okay. And one of them was... the head of the football team". Rogers served as president of the student council, was a member of the National Honor Society, and was editor-in-chief of the school yearbook. He registered for the draft in Greensburg, Pennsylvania, in 1948 at age 20, where he was classified as “1-A”, available for military service. However, his status was changed to “4-F”, unfit for military service, following an Armed Forces physical on October 12, 1950. Rogers attended Dartmouth College for one year before transferring to Rollins College in Winter Park, Florida; he graduated magna cum laude in 1951 with a Bachelor of Music. Rogers graduated magna cum laude from Pittsburgh Theological Seminary in 1962 with a Bachelor of Divinity. He was ordained a minister by the Pittsburgh Presbytery of the United Presbyterian Church in 1963. His mission as an ordained minister, instead of being a pastor of a church, was to minister to children and their families through television. He regularly appeared before church officials to keep up his ordination. Career Early work Rogers wanted to enter seminary after college, but instead chose to go into the nascent medium of television after encountering a TV at his parents' home in 1951 during his senior year at Rollins College. In a CNN interview, he said, "I went into television because I hated it so, and I thought there's some way of using this fabulous instrument to nurture those who would watch and listen". After graduating in 1951, he worked at NBC in New York City as floor director of Your Hit Parade, The Kate Smith Hour, and Gabby Hayes's children's show, and as an assistant producer of The Voice of Firestone. In 1953, Rogers returned to Pittsburgh to work as a program developer at public television station WQED. Josie Carey worked with him to develop the children's show The Children's Corner, which Carey hosted. Rogers worked off-camera to develop puppets, characters, and music for the show. He used many of the puppet characters developed during this time, such as Daniel the Striped Tiger (named after WQED's station manager, Dorothy Daniel, who gave Rogers a tiger puppet before the show's premiere), King Friday XIII, Queen Sara Saturday (named after Rogers's wife), X the Owl, Henrietta, and Lady Elaine, in his later work. Children's television entertainer Ernie Coombs was an assistant puppeteer. The Children's Corner won a Sylvania Award for best locally produced children's programming in 1955 and was broadcast nationally on NBC. While working on The Children's Corner, Rogers attended Pittsburgh Theological Seminary, and was ordained as a Presbyterian minister in 1963. He also attended the University of Pittsburgh's Graduate School of Child Development, where he began working with child psychologist Margaret McFarland, who according to Rogers's biographer Maxwell King became his "key advisor and collaborator" and "child-education guru". Much of Rogers's "thinking about and appreciation for children was shaped and informed" by McFarland. She was his consultant for most of Mister Rogers' Neighborhoods scripts and songs for 30 years. In 1963, the Canadian Broadcasting Corporation (CBC) in Toronto contracted Rogers to develop and host the 15-minute black-and-white children's program Misterogers; it lasted from 1963 to 1967. It was the first time Rogers appeared on camera. CBC's children's programming head Fred Rainsberry insisted on it, telling Rogers, "Fred, I've seen you talk with kids. Let's put you yourself on the air". Coombs joined Rogers in Toronto as an assistant puppeteer. Rogers also worked with Coombs on the children's show Butternut Square from 1964 to 1967. He acquired the rights to Misterogers in 1967 and returned to Pittsburgh with his wife, two young sons, and the sets he developed, despite a potentially promising career with CBC and no job prospects in Pittsburgh. On Rogers' recommendation, Coombs remained in Toronto and became Rogers' Canadian equivalent of an iconic television personality, creating the long-running children's program, Mr. Dressup, which ran from 1967 to 1996. Rogers's work for CBC "helped shape and develop the concept and style of his later program for the Public Broadcasting Service (PBS) in the U.S." Mister Rogers' Neighborhood Mister Rogers' Neighborhood (also called the Neighborhood), a half-hour educational children's program starring Rogers, began airing nationally in 1968 and ran for 895 episodes. The program was videotaped at WQED in Pittsburgh and was broadcast by National Educational Television (NET), which later became the Public Broadcasting Service (PBS). Its first season had 180 black-and-white episodes. Each subsequent season, filmed in color and funded by PBS, the Sears-Roebuck Foundation, and other charities, consisted of 65 episodes. By the time the program ended production in December 2000, its average rating was about 0.7 percent of television households, or 680,000 homes, and it aired on 384 PBS stations. At its peak in 1985–1986, its ratings were at 2.1 percent, or 1.8 million homes. Production of the Neighborhood ended in December 2000, and the last original episode aired in 2001, but PBS continued to air reruns; by 2016 it was the third-longest running program in PBS history. Many of the sets and props in Mister Rogers' Neighborhood, like the trolley, the sneakers, and the castle, were created for Rogers's show in Toronto by CBC designers and producers. The program also "incorporated most of the highly imaginative elements that later became famous", such as its slow pace and its host's quiet manner. The format of Mister Rogers' Neighborhood "remained virtually unchanged" for the entire run of the program. Every episode begins with a camera's-eye view of a model of a neighborhood, then panning in closer to a representation of a house while a piano instrumental of the theme song, "Won't You be My Neighbor?", performed by music director Johnny Costa and inspired by a Beethoven sonata, is played. The camera zooms in to a model representing Mr. Rogers's house, then cuts to the house's interior and pans across the room to the front door, which Rogers opens as he sings the theme song to greet his visitors while changing his suit jacket to a cardigan (knitted by his mother) and his dress shoes to sneakers, "complete with a shoe tossed from one hand to another". The episode's theme is introduced, and Mr. Rogers leaves his home to visit another location, the camera panning back to the neighborhood model and zooming in to the new location as he enters it. Once this segment ends, Mr. Rogers leaves and returns to his home, indicating that it is time to visit the Neighborhood of Make-Believe. Mr. Rogers proceeds to the window seat by the trolley track and sets up the action there as the Trolley comes out. The camera follows it down a tunnel in the back wall of the house as it enters the Neighborhood of Make-Believe. The stories and lessons told take place over a series of a week's worth of episodes and involve puppet and human characters. The end of the visit occurs when the Trolley returns to the same tunnel from which it emerged, reappearing in Mr. Rogers's home. He then talks to the viewers before concluding the episode. He often feeds his fish, cleans up any props he has used, and returns to the front room, where he sings the closing song while changing back into his dress shoes and jacket. He exits the front door as he ends the song, and the camera zooms out of his home and pans across the neighborhood model as the episode ends. Mister Rogers' Neighborhood emphasized young children's social and emotional needs, and unlike another PBS show, Sesame Street, which premiered in 1969, did not focus on cognitive learning. Writer Kathy Merlock Jackson said, "While both shows target the same preschool audience and prepare children for kindergarten, Sesame Street concentrates on school-readiness skills while Mister Rogers Neighborhood focuses on the child's developing psyche and feelings and sense of moral and ethical reasoning". The Neighborhood also spent fewer resources on research than Sesame Street, but Rogers used early childhood education concepts taught by his mentor Margaret McFarland, Benjamin Spock, Erik Erikson, and T. Berry Brazelton in his lessons. As the Washington Post noted, Rogers taught young children about civility, tolerance, sharing, and self-worth "in a reassuring tone and leisurely cadence". He tackled difficult topics such as the death of a family pet, sibling rivalry, the addition of a newborn into a family, moving and enrolling in a new school, and divorce. For example, he wrote a special segment that dealt with the assassination of Robert F. Kennedy that aired on June 7, 1968, days after the assassination occurred. According to King, the process of putting each episode of Mister Rogers' Neighborhood together was "painstaking" and Rogers's contribution to the program was "astounding". Rogers wrote and edited all the episodes, played the piano and sang for most of the songs, wrote 200 songs and 13 operas, created all the characters (both puppet and human), played most of the major puppet roles, hosted every episode, and produced and approved every detail of the program. The puppets created for the Neighborhood of Make-Believe "included an extraordinary variety of personalities". They were simple puppets but "complex, complicated, and utterly honest beings". In 1971, Rogers formed Family Communications, Inc. (FCI, now The Fred Rogers Company), to produce the Neighborhood, other programs, and non-broadcast materials. In 1975, Rogers stopped producing Mr. Rogers' Neighborhood to focus on adult programming. Reruns of the Neighborhood continued to air on PBS. King reports that the decision caught many of his coworkers and supporters "off guard". Rogers continued to confer with McFarland about child development and early childhood education, however. In 1979, after an almost five-year hiatus, Rogers returned to producing the Neighborhood; King calls the new version "stronger and more sophisticated than ever". King writes that by the program's second run in the 1980s, it was "such a cultural touchstone that it had inspired numerous parodies", most notably Eddie Murphy's parody on Saturday Night Live in the early 1980s. Rogers retired from producing the Neighborhood in 2001 at age 73, although reruns continued to air. He and FCI had been making about two or three weeks of new programs per year for many years, "filling the rest of his time slots from a library of about 300 shows made since 1979". The final original episode of Mister Rogers' Neighborhood aired on August 31, 2001. Other work and appearances In 1969, Rogers testified before the U.S. Senate Subcommittee on Communications, which was chaired by Democratic Senator John Pastore of Rhode Island. U.S. President Lyndon Johnson had proposed a $20 million bill for the creation of PBS before he left office, but his successor, Richard Nixon, wanted to cut the funding to $10 million. Even though Rogers was not yet nationally known, he was chosen to testify because of his ability to make persuasive arguments and to connect emotionally with his audience. The clip of Rogers's testimony, which was televised and has since been viewed by millions of people on the internet, helped to secure funding for PBS for many years afterwards. According to King, Rogers's testimony was "considered one of the most powerful pieces of testimony ever offered before Congress, and one of the most powerful pieces of video presentation ever filmed". It brought Pastore to tears and also, according to King, has been studied by public relations experts and academics. Congressional funding for PBS increased from $9 million to $22 million. In 1970, Nixon appointed Rogers as chair of the White House Conference on Children and Youth. In 1978, while on hiatus from Mister Rogers' Neighborhood, Rogers wrote, produced, and hosted a 30-minute interview program for adults on PBS called Old Friends... New Friends. It lasted 20 episodes. Rogers's guests included Hoagy Carmichael, Helen Hayes, Milton Berle, Lorin Hollander, poet Robert Frost's daughter Lesley, and Willie Stargell. In September 1987, Rogers visited Moscow to appear as the first guest on the long-running Soviet children's TV show Good Night, Little Ones! with host Tatiana Vedeneyeva. The appearance was broadcast in the Soviet Union on December 7, coinciding with the Washington Summit meeting between Soviet leader Mikhail Gorbachev and U.S. President Ronald Reagan in Washington D.C. Vedeneyeva visited the set of Mister Rogers' Neighborhood in November. Her visit was taped and later aired in March 1988 as part of Rogers's program. In 1994, Rogers wrote, produced, and hosted a special for PBS called Fred Rogers' Heroes, which featured interviews and portraits of four people from across the country who were having a positive impact on children and education. The first time Rogers appeared on television as an actor, and not himself, was in a 1996 episode of Dr. Quinn, Medicine Woman, playing a preacher. Rogers gave "scores of interviews". Though reluctant to appear on television talk shows, he would usually "charm the host with his quick wit and ability to ad-lib on a moment's notice". Rogers was "one of the country's most sought-after commencement speakers", making over 150 speeches. His friend and colleague David Newell reported that Rogers would "agonize over a speech", and King reported that Rogers was at his least guarded during his speeches, which were about children, television, education, his view of the world, how to make the world a better place, and his quest for self-knowledge. His tone was quiet and informal but "commanded attention". In many speeches, including the ones he made accepting a Lifetime Achievement Emmy in 1997, for his induction into the Television Hall of Fame in 1999, and his final commencement speech at Dartmouth College in 2002, he instructed his audiences to remain silent and think for a moment about someone who had a good influence on them. Personal life Rogers met Sara Joanne Byrd (called "Joanne") from Jacksonville, Florida, while attending Rollins College. They were married from 1952 until his death in 2003. They had two sons, James and John. Joanne was "an accomplished pianist", who like Fred earned a Bachelor of Music from Rollins, and went on to earn a Master of Music from Florida State University. She performed publicly with her college classmate, Jeannine Morrison, from 1976 to 2008. According to biographer Maxwell King, Rogers's close associates said he was "absolutely faithful to his marriage vows". Rogers was red-green color-blind. He became a pescatarian in 1970, after the death of his father, and a vegetarian in the early 1980s, saying he "couldn't eat anything that had a mother". He became a co-owner of Vegetarian Times in the mid-1980s and said in one issue, "I love tofu burgers and beets". He told Vegetarian Times that he became a vegetarian for both ethical and health reasons. According to his biographer Maxwell King, Rogers also signed his name to a statement protesting wearing animal furs. Rogers was a registered Republican, but according to Joanne Rogers, he was "very independent in the way he voted", choosing not to talk about politics because he wanted to be impartial. Rogers was a Presbyterian, and many of the messages he expressed in Mister Rogers' Neighborhood were inspired by the core tenets of Christianity. Rogers rarely spoke about his faith on air; he believed that teaching through example was as powerful as preaching. He said, "You don't need to speak overtly about religion in order to get a message across". According to writer Shea Tuttle, Rogers considered his faith a fundamental part of his personality and "called the space between the viewer and the television set 'holy ground'". But despite his strong faith, Rogers struggled with anger, conflict, and self-doubt, especially at the end of his life. He also studied Catholic mysticism, Judaism, Buddhism, and other faiths and cultures. King called him "that unique television star with a real spiritual life", emphasizing the values of patience, reflection, and "silence in a noisy world". King reported that despite Rogers's family's wealth, he cared little about making money, and lived frugally, especially as he and his wife grew older. King reported that Rogers's relationship with his young audience was important to him. For example, since hosting Misterogers in Canada, he answered every letter sent to him by hand. After Mister Rogers' Neighborhood began airing in the U.S., the letters increased in volume and he hired staff member and producer Hedda Sharapan to answer them, but he read, edited, and signed each one. King wrote that Rogers saw responding to his viewers' letters as "a pastoral duty of sorts". The New York Times called Rogers "a dedicated lap-swimmer", and Tom Junod, author of "Can You Say... Hero?", the 1998 Esquire profile of Rogers, said, "Nearly every morning of his life, Mister Rogers has gone swimming". Rogers began swimming when he was a child at his family's vacation home outside Latrobe, where they owned a pool, and during their winter trips to Florida. King wrote that swimming and playing the piano were "lifelong passions" and that "both gave him a chance to feel capable and in charge of his destiny", and that swimming became "an important part of the strong sense of self-discipline he cultivated". Rogers swam daily at the Pittsburgh Athletic Association, after waking every morning between 4:30 and 5:30 A.M. to pray and to "read the Bible and prepare himself for the day". He did not smoke or drink. According to Junod, he did nothing to change his weight from the he weighed for most of his adult life; by 1998, this also included napping daily, going to bed at 9:30 P.M., and sleeping eight hours per night without interruption. Junod said Rogers saw his weight "as a destiny fulfilled", telling Junod, "the number 143 means 'I love you.' It takes one letter to say 'I' and four letters to say 'love' and three letters to say 'you'". Death and memorials After Rogers's retirement in 2001, he remained busy working with FCI, studying religion and spirituality, making public appearances, traveling, and working on a children's media center named after him at Saint Vincent College in Latrobe with Archabbot Douglas Nowicki, chancellor of the college. By the summer of 2002, his chronic stomach pain became severe enough for him to see a doctor about it, and in October 2002, he was diagnosed with stomach cancer. He delayed treatment until after he served as Grand Marshal of the 2003 Rose Parade, with Art Linkletter and Bill Cosby in January. On January 6, Rogers underwent stomach surgery. He died less than two months later, on February 27, 2003, one month before his 75th birthday, at his home in Pittsburgh, with his wife of 50 years, Joanne, at his side. While comatose shortly before his death, he received the last rites of the Catholic Church from Archabbot Nowicki. The following day, the Pittsburgh Post-Gazette covered Rogers's death on the front page and dedicated an entire section to his death and impact. The newspaper also reported that by noon, the internet "was already full of appreciative pieces" by parents, viewers, producers, and writers. Rogers's death was widely lamented. Most U.S. metropolitan newspapers ran his obituary on their front page, and some dedicated entire sections to coverage of his death. WQED aired programs about Rogers the evening he died; the Post-Gazette reported that the ratings for their coverage were three times higher than their normal ratings. That same evening, Nightline on ABC broadcast a rerun of a recent interview with Rogers; the program got the highest ratings of the day, beating the February average ratings of Late Show with David Letterman and The Tonight Show with Jay Leno. On March 4, the U.S. House of Representatives unanimously passed a resolution honoring Rogers sponsored by Representative Mike Doyle from Pennsylvania. On March 1, 2003, a private funeral was held for Rogers in Unity Chapel, which was restored by Rogers's father, at Unity Cemetery in Latrobe. About 80 relatives, co-workers, and close friends attended the service, which "was planned in great secrecy so that those closest to him could grieve in private". Reverend John McCall, pastor of the Rogers family's church, Sixth Presbyterian Church in Squirrel Hill, gave the homily, and Reverend William Barker, a retired Presbyterian minister who was a "close friend of Mr. Rogers and the voice of Mr. Platypus on his show", read Rogers's favorite Bible passages. Rogers was interred at Unity Cemetery in Latrobe, Pennsylvania, in a mausoleum owned by his mother's family. On May 3, 2003, a public memorial was held at Heinz Hall in Pittsburgh. According to the Post-Gazette, 2,700 people attended. Violinist Itzhak Perlman, cellist Yo-Yo Ma (via video), and organist Alan Morrison performed in honor of Rogers. Barker officiated the service; also in attendance were Pittsburgh philanthropist Elsie Hillman, former Good Morning America host David Hartman, The Very Hungry Caterpillar author Eric Carle, and Arthur creator Marc Brown. Businesswoman and philanthropist Teresa Heinz, PBS President Pat Mitchell, and executive director of The Pittsburgh Project Saleem Ghubril gave remarks. Jeff Erlanger, who at age 10 appeared on Mister Rogers' Neighborhood in 1981 to explain his electric wheelchair, also spoke. The memorial was broadcast several times on Pittsburgh television stations and websites throughout the day. Legacy Marc Brown, creator of another PBS children's show, Arthur, considered Rogers both a friend and "a terrific role model for how to use television and the media to be helpful to kids and families". Josh Selig, creator of Wonder Pets, credits Rogers with influencing his use of structure and predictability, and his use of music, opera, and originality. Rogers inspired Angela Santomero, co-creator of the children's television show Blue's Clues, to earn a degree in developmental psychology and go into educational television. She and the other producers of Blue's Clues used many of Rogers's techniques, such as using child developmental and educational research, and having the host speak directly to the camera and transition to a make-believe world. In 2006, three years after Rogers's death and the end of production of Blue's Clues, the Fred Rogers Company contacted Santomero to create a show that would promote Rogers's legacy. In 2012, Daniel Tiger's Neighborhood, with characters from and based upon Mister Rogers' Neighborhood, premiered on PBS. Rogers's style and approach to children's television and early childhood education also "begged to be parodied". Comedian Eddie Murphy parodied Mister Rogers' Neighborhood on Saturday Night Live during the 1980s. Rogers told interviewer David Letterman in 1982 that he believed parodies like Murphy's were done "with kindness in their hearts". Video of Rogers's 1969 testimony in defense of public programming has experienced a resurgence since 2012, going viral at least twice. It first resurfaced after then presidential candidate Mitt Romney suggested cutting funding for PBS. In 2017, video of the testimony again went viral after President Donald Trump proposed defunding several arts-related government programs including PBS and the National Endowment for the Arts. A roadside Pennsylvania Historical Marker dedicated to Rogers to be installed in Latrobe was approved by the Pennsylvania Historical and Museum Commission on March 4, 2014. It was installed on June 11, 2016, with the title "Fred McFeely Rogers (1928–2003)". In 2018, Won't You Be My Neighbor?, director Morgan Neville's documentary about Rogers's life, grossed over $22 million and became the top-grossing biographical documentary ever produced, the highest-grossing documentary in five years, and the 12th largest-grossing documentary ever produced. The 2019 drama film A Beautiful Day in the Neighborhood tells the story of Rogers and his television series, with Tom Hanks portraying Rogers. According to Caitlin Gibson of The Washington Post, Rogers became a source for parenting advice; she called him "a timeless oracle against a backdrop of ever-shifting parenting philosophies and cultural trends". Robert Thompson of Syracuse University noted that Rogers "took American childhood—and I think Americans in general—through some very turbulent and trying times", from the Vietnam War and the assassination of Robert Kennedy in 1968 to the 9/11 attacks in 2001. According to Asia Simone Burns of National Public Radio, in the years following the end of production on Mister Rogers' Neighborhood in 2001, and his death in 2003, Rogers became "a source of comfort, sometimes in the wake of tragedy". Burns has said Rogers's words of comfort "began circulating on social media" following tragedies such as the Sandy Hook Elementary School shooting in 2012, the Manchester Arena bombing in Manchester, England, in 2017, and the Stoneman Douglas High School shooting in Parkland, Florida, in 2018. Awards and honors Museum exhibits Smithsonian Institution permanent collection. In 1984, Rogers donated one of his sweaters to the Smithsonian. Children's Museum of Pittsburgh. Exhibit created by Rogers and FCI in 1998. It attracted hundreds of thousand of visitors over 10 years, and included, from Mister Rogers' Neighborhood, one of his sweaters, a pair of his sneakers, original puppets from the program, and photographs of Rogers. The exhibit traveled to children's museums throughout the country for eight years until it was given to the Louisiana Children's Museum in New Orleans as a permanent exhibit, to help them recover from Hurricane Katrina in 2005. In 2007, the Children's Museum of Pittsburgh created a traveling exhibit based on the factory tours featured in episodes of Mister Rogers' Neighborhood. Heinz History Center permanent collection (2018). In honor of the 50th anniversary of Mister Rogers' Neighborhood and what would have been Rogers's 90th birthday. Louisiana Children's Museum. The museum contains an exhibit of Mister Rogers' Neighborhood, which debuted in 2007. The exhibit was donated by the Children's Museum of Pittsburgh. Fred Rogers Exhibit. The Exhibit displays the life, career and legacy of Rogers and includes photos, artifacts from Mister Rogers' Neighborhood and clips of the program and interviews featuring Rogers. It is located at the Fred Rogers Center. Art pieces There are several pieces of art dedicated to Rogers throughout Pittsburgh, including a 7,000-pound, 11-foot high bronze statue of him in the North Shore neighborhood. In the Oakland neighborhood, his portrait is included in the Martin Luther King Jr. and "Interpretations of Oakland" murals. A statue of a dinosaur titled "Fredasaurus Rex Friday XIII" originally stood in front of the WQED building and as of 2014 stands in front of the building that contains the Fred Rogers Company offices. There is a "Mister Rogers' Neighborhood of Make-Believe" in Idlewild Park and a kiosk of Mister Rogers' Neighborhood artifacts at Pittsburgh International Airport. The Carnegie Science Center's Miniature Railroad and Village debuted a miniature recreation of Rogers's house from Mister Rogers' Neighborhood in 2005. Honorary degrees Rogers has received honorary degrees from over 43 colleges and universities. After 1973, two commemorative quilts, created by two of Rogers's friends and archived at the Fred Rogers Center at St. Vincent College in Latrobe, were made out of the academic hoods he received during the graduation ceremonies. Note: Much of the below list is taken from "Honorary Degrees Awarded to Fred Rogers", unless otherwise stated. Thiel College, 1969. Thiel also awards a yearly scholarship named for Rogers. Eastern Michigan University, 1973 Saint Vincent College, 1973 Christian Theological Seminary, 1973 Rollins College, 1974 Yale University, 1974 Chatham College, 1975 Carnegie Mellon University, 1976 Lafayette College, 1977 Waynesburg College, 1978 Linfield College, 1982 Slippery Rock State College, 1982 Duquesne University, 1982 Washington & Jefferson College, 1984 University of South Carolina, 1985 Hobart and William Smith Colleges, 1985 Drury College, 1986 MacMurray College, 1986 Bowling Green State University, 1987 Westminster College (Pennsylvania), 1987 University of Indianapolis, 1988 University of Connecticut, 1991 Boston University, 1992 Indiana University of Pennsylvania, 1992 Moravian College, 1992 Goucher College, 1993 University of Pittsburgh, 1993 West Virginia University, 1995 North Carolina State University, 1996 Edinboro University of Pennsylvania, 1998 Marist College, 1999 Westminster Choir College, 1999 Old Dominion University, 2000 Marquette University, 2001 Middlebury College, 2001 Dartmouth College, 2002 Seton Hill University, 2003 (posthumous) Union College, 2003 (posthumous) Roanoke College, 2003 (posthumous) Filmography Television {\|class="wikitable sortable" \|- ! Year ! Title \|- \| 1954–1961 \| The Children's Corner \|- \| 1963–1966 \| Misterogers \|- \| 1964–1967 \| Butternut Square \|- \| 1968–2001 \| Mister Rogers' Neighborhood \|- \| 1977–1982 \| Christmastime with Mister Rogers \|- \| 1978–1981 \| Old Friends... New Friends \|- \| 1981 \| Sesame Street \|- \| 1988 \| Good Night, Little Ones! \|- \| 1991 \| Where in the World Is Carmen Sandiego? \|- \| 1994 \|Mr. Dressup's 25th Anniversary\|- \| 1994 \| Fred Rogers' Heroes\|- \| 1996 \| Dr. Quinn, Medicine Woman\|- \| 1997 \| Arthur\|- \| 1998 \| Wheel of Fortune\|- \| 2003 \| 114th Annual Tournament of Roses Parade\|} Published works Children's books Our Small World (with Josie Carey, illustrated by Norb Nathanson), 1954, Reed and Witting, The Elves, the Shoemaker, & the Shoemaker's Wife (illustrated by Richard Hefter), 1973, Small World Enterprises, The Matter of the Mittens, 1973, Small World Enterprises, Speedy Delivery (illustrated by Richard Hefter), 1973, Hubbard, Henrietta Meets Someone New (illustrated by Jason Art Studios), 1974, Golden Press, Mister Rogers Talks About, 1974, Platt & Munk, Time to Be Friends, 1974, Hallmark Cards, Everyone is Special (illustrated by Jason Art Studios), 1975, Western Publishing, Tell Me, Mister Rogers, 1975, Platt & Munk, The Costume Party (illustrated by Jason Art Studios), 1976, Golden Press, Planet Purple (illustrated by Dennis Hockerman), 1986, Texas Instruments, If We Were All the Same (illustrated by Pat Sustendal), 1987, Random House, A Trolley Visit to Make-Believe (illustrated by Pat Sustendal), 1987, Random House, Wishes Don't Make Things Come True (illustrated Pat Sustendal), 1987, Random House, No One Can Ever Take Your Place (illustrated by Pat Sustendal), 1988, Random House, When Monsters Seem Real (illustrated by Pat Sustendal), 1988, Random House, You Can Never Go Down the Drain (illustrated by Pat Sustendal), 1988, Random House, The Giving Box (illustrated by Jennifer Herbert), 2000, Running Press, Good Weather or Not (with Hedda Bluestone Sharapan, illustrated by James Mellet), 2005, Family Communications, Josephine the Short Neck-Giraffe, 2006, Family Communications, A Beautiful Day in the Neighborhood: The Poetry of Mister Rogers Neighborhood (illustrated by Luke Flowers), 2009, Quirk Books, First Experiences series illustrated by Jim Judkis Going to Day Care, 1985, Putnam, The New Baby, 1985, Putnam, Going to the Potty, 1986, Putnam, Going to the Doctor, 1986, Putnam, Making Friends, 1987, Putnam, Moving, 1987, Putnam, Going to the Hospital, 1988, Putnam, When a Pet Dies, 1988, Putnam, Going on an Airplane, 1989, Putnam, Going to the Dentist, 1989, Putnam, Let's Talk About It series Going to the Hospital, 1977, Family Communications, Having an Operation, 1977, Family Communications, So Many Things To See!, 1977, Family Communications, Wearing a Cast, 1977, Family Communications, Adoption, 1993, Putnam, Divorce, 1994, Putnam, Extraordinary Friends, 2000, Putnam, Stepfamilies, 2001, Putnam, Songbooks Tomorrow on the Children's Corner (with Josie Carey, illustrated by Mal Wittman), 1960, Vernon Music Corporation, Mister Rogers' Songbook (with Johnny Costa, illustrated by Steven Kellogg), 1970, Random House, Books for adults Mister Rogers Talks to Parents, 1983, Family Communications, Mister Rogers' Playbook (with Barry Head, illustrated by Jamie Adams), 1986, Berkley Books, Mister Rogers Talks with Families About Divorce (with Clare O'Brien), 1987, Berkley Books, Mister Rogers' How Families Grow (with Barry Head and Jim Prokell), 1988, Berkley Books, You Are Special: Words of Wisdom from America's Most Beloved Neighbor, 1994, Penguin Books, Dear Mister Rogers, 1996, Penguin Books, Mister Rogers' Playtime, 2001, Running Press, The Mister Rogers Parenting Book, 2002, Running Press, You are special: Neighborly Wisdom from Mister Rogers, 2002, Running Press, The World According to Mister Rogers, 2003, Hyperion Books, Life's Journeys According to Mister Rogers, 2005, Hyperion Books, The Mister Rogers Parenting Resource Book, 2005, Courage Books, Many Ways to Say I Love You: Wisdom For Parents And Children, 2019, Hachette Books, Discography Around the Children's Corner (with Josey Carey), 1958, Vernon Music Corporation, Tomorrow on the Children's Corner (with Josie Carey), 1959 King Friday XIII Celebrates, 1964 Won't You Be My Neighbor?, 1967 Let's Be Together Today, 1968 Josephine the Short-Neck Giraffe, 1969 You Are Special, 1969 A Place of Our Own, 1970 Come On and Wake Up, 1972 Growing, 1992 Bedtime, 1992 Won't You Be My Neighbor? (cassette and book), 1994, Hal Leonard, Coming and Going, 1997 It's Such A Good Feeling: The Best Of Mister Rogers, 2019, Omnivore Recordings, posthumous release See also Won't You Be My Neighbor?, 2018 documentary Mister Rogers: It's You I Like, 2018 documentary A Beautiful Day in the Neighborhood, 2019 biographical drama film List of vegetarians Notes References Works cited Gross, Terry (1984). "Terry Gross and Fred Rogers". Fresh Air. NPR. King, Maxwell (2018). The Good Neighbor: The Life and Work of Fred Rogers. Abrams Press. . Tiech, John (2012). Pittsburgh Film History: On Set in the Steel City''. Charleston, North Carolina: The History Press. . External links PBS Kids: Official Site The Fred M. Rogers Center The Fred Rogers Company (formerly known as Family Communications) 1984 interview with Fred Rogers. The Music of Mister Rogers—Pittsburgh Music History Fred Rogers at Voice Chasers 1928 births 2003 deaths 20th-century American composers 20th-century American male actors 20th-century American male writers 20th-century American singers 20th-century Presbyterians 21st-century Presbyterians American children's television presenters American male composers American male singers American male songwriters American male television actors American male voice actors American philanthropists American Presbyterian ministers American Presbyterians American puppeteers American television hosts Burials in Pennsylvania Christianity in Pittsburgh Columbia Records artists Dartmouth College alumni Daytime Emmy Award winners Deaths from cancer in Pennsylvania Deaths from stomach cancer Male actors from Pittsburgh Omnivore Recordings artists PBS people Peabody Award winners Pennsylvania Republicans People from Latrobe, Pennsylvania Pittsburgh Theological Seminary alumni Presbyterians from Pennsylvania Presidential Medal of Freedom recipients Rollins College alumni Singers from Pennsylvania Songwriters from Pennsylvania Television personalities from Pittsburgh Television producers from Pennsylvania United Presbyterian Church in the United States of America ministers Vegetarianism activists Writers from Pittsburgh Articles containing video clips	false	[ "The outcome bias is an error made in evaluating the quality of a decision when the outcome of that decision is already known. Specifically, the outcome effect occurs when the same \"behavior produce[s] more ethical condemnation when it happen[s] to produce bad rather than good outcome, even if the outcome is determined by chance.\"\n\nWhile similar to the hindsight bias, the two phenomena are markedly different. Hindsight bias focuses on memory distortion to favor the actor, while the outcome bias focuses exclusively on weighting the past outcome heavier than other pieces of information in deciding if a past decision was correct.\n\nOverview\nOne will often judge a past decision by its ultimate outcome instead of based on the quality of the decision at the time it was made, given what was known at that time. This is an error because no decision-maker ever knows whether or not a calculated risk will turn out for the best. The actual outcome of the decision will often be determined by chance, with some risks working out and others not. Individuals whose judgments are influenced by outcome bias are seemingly holding decision-makers responsible for events beyond their control.\n\nBaron and Hershey (1988) presented subjects with hypothetical situations in order to test this.\nOne such example involved a surgeon deciding whether or not to do a risky surgery on a patient. The surgery had a known probability of success. Subjects were presented with either a good or bad outcome (in this case living or dying), and asked to rate the quality of the surgeon's pre-operation decision. Those presented with bad outcomes rated the decision worse than those who had good outcomes. \"The ends justify the means\" is an often used aphorism to express the Outcome effect when the outcome is desirable.\n\nThe reason why an individual makes this mistake is that he or she will incorporate currently available information when evaluating a past decision. To avoid the influence of outcome bias, one should evaluate a decision by ignoring information collected after the fact and focusing on what the right answer is, or was at the time the decision was made.\n\nOutside of psychological experiments, the outcome bias has been found to be substantially present in real world situations. A study looking at the evaluation of football players' performance by coaches and journalists found that players' performance is judged to be substantially better—over a whole match—if the player had a lucky goal rather than an unlucky miss (after a player's shot hit one of the goal posts).\n\nSee also\n Deontology vs. teleology and consequentialism (ethical theories)\n Group attribution error\n Historian's fallacy\n List of cognitive biases\n\nReferences\n\nCognitive biases", "Guaranty Trust Co. v. York, 326 U.S. 99 (1945), was a United States Supreme Court case that described how federal courts were to follow state law. Justice Frankfurter delivered the majority opinion further refining the doctrine set forth in Erie Railroad Co. v. Tompkins.\n\nBackground\nThe Erie Doctrine, adopted in 1938, held that while Federal law was determinative in procedural matters, state law should control for substantive matters, thus preventing 'forum shopping' between state and Federal courts. The defendant in Guaranty Trust argued that the plaintiff's action was time-barred under a New York statute of limitations. The plaintiff countered that the relevant statute of limitations was \"procedural,\" was not \"substantive\" law, and therefore was not within the ambit of the doctrine established in the Erie case.\n\nDecision of the Court\nThe court dispensed with this substantive/procedural distinction and stated that regardless of whether the case was argued in state or federal court, the outcome should be substantially the same. Thus, the court set forth an \"outcome determinative test\" for deciding whether a piece of state law must be obeyed in federal courts—if the outcome is substantively the same then the federal court can apply its own rules instead of state rules. The court held in this case that the New York Statute of limitations be obeyed and the case was reversed and remanded.\n\nThis rule was refined first in Byrd v. Blue Ridge Rural Electric Cooperative, Inc. and subsequently defined more specifically in a related series of cases over the next few decades.\n\nSee also\n Erie Doctrine\n List of United States Supreme Court cases, volume 326\n\nExternal links\n \n \n\nUnited States Supreme Court cases\nUnited States Supreme Court cases of the Stone Court\nConflict of laws case law\nDiversity jurisdiction case law\nUnited States Erie Doctrine\n1945 in United States case law" ]
[ "Fred Rogers", "VCR", "what is fred rogers most known for?", "Rogers was involved in supporting the manufacturers of VCRs in court.", "how did he support them?", "His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs,", "what was the case outcome?", "When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright." ]	C_f973880c74e14646b417dd7804c9af66_0	what is he doing now?	4	What is Fred Rogers doing now?	Fred Rogers	During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER	CANNOTANSWER	Fred McFeely Rogers (March 20, 1928 – February 27, 2003), also known as Mister Rogers, was an American television host, author, producer, and Presbyterian minister. He was the creator, showrunner, and host of the preschool television series Mister Rogers' Neighborhood, which ran from 1968 to 2001. Born in Latrobe, Pennsylvania, near Pittsburgh, Rogers earned a bachelor's degree in music from Rollins College in 1951. He began his television career at NBC in New York, returning to Pittsburgh in 1953 to work for children's programming at NET (later PBS) television station WQED. He graduated from Pittsburgh Theological Seminary with a bachelor's degree in divinity in 1962 and became a Presbyterian minister in 1963. He attended the University of Pittsburgh's Graduate School of Child Development, where he began his 30-year collaboration with child psychologist Margaret McFarland. He also helped develop the children's shows The Children's Corner (1955) for WQED in Pittsburgh and Misterogers (1963) in Canada for the Canadian Broadcasting Corporation. In 1968, he returned to Pittsburgh and adapted the format of his Canadian series to create Mister Rogers' Neighborhood, which ran for 33 years. The program was critically acclaimed for focusing on children's emotional and physical concerns, such as death, sibling rivalry, school enrollment, and divorce. Rogers died of stomach cancer on February 27, 2003, at age 74. His work in children's television has been widely lauded, and he received more than 40 honorary degrees and several awards, including the Presidential Medal of Freedom in 2002 and a Lifetime Achievement Emmy in 1997. He was inducted into the Television Hall of Fame in 1999. Rogers influenced many writers and producers of children's television shows, and his broadcasts have served as a source of comfort during tragic events, even after his death. Early life Rogers was born on March 20, 1928, in Latrobe, Pennsylvania, about outside of Pittsburgh, at 705 Main Street to James and Nancy Rogers. James was "a very successful businessman" who was president of the McFeely Brick Company, one of Latrobe's largest businesses. Nancy's father, Fred Brooks McFeely, after whom Rogers was named, was an entrepreneur. Nancy knitted sweaters for American soldiers from western Pennsylvania who were fighting in Europe and regularly volunteered at the Latrobe Hospital. Initially, dreaming of becoming a doctor, she settled for a life of hospital volunteer work. Rogers grew up in a three-story brick mansion at 737 Weldon Street in Latrobe. He had a sister, Elaine, whom the Rogerses adopted when he was 11 years old. Rogers spent much of his childhood alone, playing with puppets, and also spent time with his grandfather. He began to play the piano when he was five years old. Through an ancestor who immigrated from Germany to the U.S., Johannes Meffert (born 1732), Rogers is the sixth cousin of American actor Tom Hanks, who portrays him in the film A Beautiful Day in the Neighborhood (2019). Rogers had a difficult childhood. He was shy, introverted, and overweight, and was frequently homebound after suffering bouts of asthma. He was bullied and taunted as a child for his weight, and called "Fat Freddy". According to Morgan Neville, director of the 2018 documentary Won't You Be My Neighbor?, Rogers had a "lonely childhood... I think he made friends with himself as much as he could. He had a ventriloquist dummy, he had [stuffed] animals, and he would create his own worlds in his childhood bedroom". Rogers attended Latrobe High School, where he overcame his shyness. "It was tough for me at the beginning," Rogers told NPR's Terry Gross in 1984. "And then I made a couple friends who found out that the core of me was okay. And one of them was... the head of the football team". Rogers served as president of the student council, was a member of the National Honor Society, and was editor-in-chief of the school yearbook. He registered for the draft in Greensburg, Pennsylvania, in 1948 at age 20, where he was classified as “1-A”, available for military service. However, his status was changed to “4-F”, unfit for military service, following an Armed Forces physical on October 12, 1950. Rogers attended Dartmouth College for one year before transferring to Rollins College in Winter Park, Florida; he graduated magna cum laude in 1951 with a Bachelor of Music. Rogers graduated magna cum laude from Pittsburgh Theological Seminary in 1962 with a Bachelor of Divinity. He was ordained a minister by the Pittsburgh Presbytery of the United Presbyterian Church in 1963. His mission as an ordained minister, instead of being a pastor of a church, was to minister to children and their families through television. He regularly appeared before church officials to keep up his ordination. Career Early work Rogers wanted to enter seminary after college, but instead chose to go into the nascent medium of television after encountering a TV at his parents' home in 1951 during his senior year at Rollins College. In a CNN interview, he said, "I went into television because I hated it so, and I thought there's some way of using this fabulous instrument to nurture those who would watch and listen". After graduating in 1951, he worked at NBC in New York City as floor director of Your Hit Parade, The Kate Smith Hour, and Gabby Hayes's children's show, and as an assistant producer of The Voice of Firestone. In 1953, Rogers returned to Pittsburgh to work as a program developer at public television station WQED. Josie Carey worked with him to develop the children's show The Children's Corner, which Carey hosted. Rogers worked off-camera to develop puppets, characters, and music for the show. He used many of the puppet characters developed during this time, such as Daniel the Striped Tiger (named after WQED's station manager, Dorothy Daniel, who gave Rogers a tiger puppet before the show's premiere), King Friday XIII, Queen Sara Saturday (named after Rogers's wife), X the Owl, Henrietta, and Lady Elaine, in his later work. Children's television entertainer Ernie Coombs was an assistant puppeteer. The Children's Corner won a Sylvania Award for best locally produced children's programming in 1955 and was broadcast nationally on NBC. While working on The Children's Corner, Rogers attended Pittsburgh Theological Seminary, and was ordained as a Presbyterian minister in 1963. He also attended the University of Pittsburgh's Graduate School of Child Development, where he began working with child psychologist Margaret McFarland, who according to Rogers's biographer Maxwell King became his "key advisor and collaborator" and "child-education guru". Much of Rogers's "thinking about and appreciation for children was shaped and informed" by McFarland. She was his consultant for most of Mister Rogers' Neighborhoods scripts and songs for 30 years. In 1963, the Canadian Broadcasting Corporation (CBC) in Toronto contracted Rogers to develop and host the 15-minute black-and-white children's program Misterogers; it lasted from 1963 to 1967. It was the first time Rogers appeared on camera. CBC's children's programming head Fred Rainsberry insisted on it, telling Rogers, "Fred, I've seen you talk with kids. Let's put you yourself on the air". Coombs joined Rogers in Toronto as an assistant puppeteer. Rogers also worked with Coombs on the children's show Butternut Square from 1964 to 1967. He acquired the rights to Misterogers in 1967 and returned to Pittsburgh with his wife, two young sons, and the sets he developed, despite a potentially promising career with CBC and no job prospects in Pittsburgh. On Rogers' recommendation, Coombs remained in Toronto and became Rogers' Canadian equivalent of an iconic television personality, creating the long-running children's program, Mr. Dressup, which ran from 1967 to 1996. Rogers's work for CBC "helped shape and develop the concept and style of his later program for the Public Broadcasting Service (PBS) in the U.S." Mister Rogers' Neighborhood Mister Rogers' Neighborhood (also called the Neighborhood), a half-hour educational children's program starring Rogers, began airing nationally in 1968 and ran for 895 episodes. The program was videotaped at WQED in Pittsburgh and was broadcast by National Educational Television (NET), which later became the Public Broadcasting Service (PBS). Its first season had 180 black-and-white episodes. Each subsequent season, filmed in color and funded by PBS, the Sears-Roebuck Foundation, and other charities, consisted of 65 episodes. By the time the program ended production in December 2000, its average rating was about 0.7 percent of television households, or 680,000 homes, and it aired on 384 PBS stations. At its peak in 1985–1986, its ratings were at 2.1 percent, or 1.8 million homes. Production of the Neighborhood ended in December 2000, and the last original episode aired in 2001, but PBS continued to air reruns; by 2016 it was the third-longest running program in PBS history. Many of the sets and props in Mister Rogers' Neighborhood, like the trolley, the sneakers, and the castle, were created for Rogers's show in Toronto by CBC designers and producers. The program also "incorporated most of the highly imaginative elements that later became famous", such as its slow pace and its host's quiet manner. The format of Mister Rogers' Neighborhood "remained virtually unchanged" for the entire run of the program. Every episode begins with a camera's-eye view of a model of a neighborhood, then panning in closer to a representation of a house while a piano instrumental of the theme song, "Won't You be My Neighbor?", performed by music director Johnny Costa and inspired by a Beethoven sonata, is played. The camera zooms in to a model representing Mr. Rogers's house, then cuts to the house's interior and pans across the room to the front door, which Rogers opens as he sings the theme song to greet his visitors while changing his suit jacket to a cardigan (knitted by his mother) and his dress shoes to sneakers, "complete with a shoe tossed from one hand to another". The episode's theme is introduced, and Mr. Rogers leaves his home to visit another location, the camera panning back to the neighborhood model and zooming in to the new location as he enters it. Once this segment ends, Mr. Rogers leaves and returns to his home, indicating that it is time to visit the Neighborhood of Make-Believe. Mr. Rogers proceeds to the window seat by the trolley track and sets up the action there as the Trolley comes out. The camera follows it down a tunnel in the back wall of the house as it enters the Neighborhood of Make-Believe. The stories and lessons told take place over a series of a week's worth of episodes and involve puppet and human characters. The end of the visit occurs when the Trolley returns to the same tunnel from which it emerged, reappearing in Mr. Rogers's home. He then talks to the viewers before concluding the episode. He often feeds his fish, cleans up any props he has used, and returns to the front room, where he sings the closing song while changing back into his dress shoes and jacket. He exits the front door as he ends the song, and the camera zooms out of his home and pans across the neighborhood model as the episode ends. Mister Rogers' Neighborhood emphasized young children's social and emotional needs, and unlike another PBS show, Sesame Street, which premiered in 1969, did not focus on cognitive learning. Writer Kathy Merlock Jackson said, "While both shows target the same preschool audience and prepare children for kindergarten, Sesame Street concentrates on school-readiness skills while Mister Rogers Neighborhood focuses on the child's developing psyche and feelings and sense of moral and ethical reasoning". The Neighborhood also spent fewer resources on research than Sesame Street, but Rogers used early childhood education concepts taught by his mentor Margaret McFarland, Benjamin Spock, Erik Erikson, and T. Berry Brazelton in his lessons. As the Washington Post noted, Rogers taught young children about civility, tolerance, sharing, and self-worth "in a reassuring tone and leisurely cadence". He tackled difficult topics such as the death of a family pet, sibling rivalry, the addition of a newborn into a family, moving and enrolling in a new school, and divorce. For example, he wrote a special segment that dealt with the assassination of Robert F. Kennedy that aired on June 7, 1968, days after the assassination occurred. According to King, the process of putting each episode of Mister Rogers' Neighborhood together was "painstaking" and Rogers's contribution to the program was "astounding". Rogers wrote and edited all the episodes, played the piano and sang for most of the songs, wrote 200 songs and 13 operas, created all the characters (both puppet and human), played most of the major puppet roles, hosted every episode, and produced and approved every detail of the program. The puppets created for the Neighborhood of Make-Believe "included an extraordinary variety of personalities". They were simple puppets but "complex, complicated, and utterly honest beings". In 1971, Rogers formed Family Communications, Inc. (FCI, now The Fred Rogers Company), to produce the Neighborhood, other programs, and non-broadcast materials. In 1975, Rogers stopped producing Mr. Rogers' Neighborhood to focus on adult programming. Reruns of the Neighborhood continued to air on PBS. King reports that the decision caught many of his coworkers and supporters "off guard". Rogers continued to confer with McFarland about child development and early childhood education, however. In 1979, after an almost five-year hiatus, Rogers returned to producing the Neighborhood; King calls the new version "stronger and more sophisticated than ever". King writes that by the program's second run in the 1980s, it was "such a cultural touchstone that it had inspired numerous parodies", most notably Eddie Murphy's parody on Saturday Night Live in the early 1980s. Rogers retired from producing the Neighborhood in 2001 at age 73, although reruns continued to air. He and FCI had been making about two or three weeks of new programs per year for many years, "filling the rest of his time slots from a library of about 300 shows made since 1979". The final original episode of Mister Rogers' Neighborhood aired on August 31, 2001. Other work and appearances In 1969, Rogers testified before the U.S. Senate Subcommittee on Communications, which was chaired by Democratic Senator John Pastore of Rhode Island. U.S. President Lyndon Johnson had proposed a $20 million bill for the creation of PBS before he left office, but his successor, Richard Nixon, wanted to cut the funding to $10 million. Even though Rogers was not yet nationally known, he was chosen to testify because of his ability to make persuasive arguments and to connect emotionally with his audience. The clip of Rogers's testimony, which was televised and has since been viewed by millions of people on the internet, helped to secure funding for PBS for many years afterwards. According to King, Rogers's testimony was "considered one of the most powerful pieces of testimony ever offered before Congress, and one of the most powerful pieces of video presentation ever filmed". It brought Pastore to tears and also, according to King, has been studied by public relations experts and academics. Congressional funding for PBS increased from $9 million to $22 million. In 1970, Nixon appointed Rogers as chair of the White House Conference on Children and Youth. In 1978, while on hiatus from Mister Rogers' Neighborhood, Rogers wrote, produced, and hosted a 30-minute interview program for adults on PBS called Old Friends... New Friends. It lasted 20 episodes. Rogers's guests included Hoagy Carmichael, Helen Hayes, Milton Berle, Lorin Hollander, poet Robert Frost's daughter Lesley, and Willie Stargell. In September 1987, Rogers visited Moscow to appear as the first guest on the long-running Soviet children's TV show Good Night, Little Ones! with host Tatiana Vedeneyeva. The appearance was broadcast in the Soviet Union on December 7, coinciding with the Washington Summit meeting between Soviet leader Mikhail Gorbachev and U.S. President Ronald Reagan in Washington D.C. Vedeneyeva visited the set of Mister Rogers' Neighborhood in November. Her visit was taped and later aired in March 1988 as part of Rogers's program. In 1994, Rogers wrote, produced, and hosted a special for PBS called Fred Rogers' Heroes, which featured interviews and portraits of four people from across the country who were having a positive impact on children and education. The first time Rogers appeared on television as an actor, and not himself, was in a 1996 episode of Dr. Quinn, Medicine Woman, playing a preacher. Rogers gave "scores of interviews". Though reluctant to appear on television talk shows, he would usually "charm the host with his quick wit and ability to ad-lib on a moment's notice". Rogers was "one of the country's most sought-after commencement speakers", making over 150 speeches. His friend and colleague David Newell reported that Rogers would "agonize over a speech", and King reported that Rogers was at his least guarded during his speeches, which were about children, television, education, his view of the world, how to make the world a better place, and his quest for self-knowledge. His tone was quiet and informal but "commanded attention". In many speeches, including the ones he made accepting a Lifetime Achievement Emmy in 1997, for his induction into the Television Hall of Fame in 1999, and his final commencement speech at Dartmouth College in 2002, he instructed his audiences to remain silent and think for a moment about someone who had a good influence on them. Personal life Rogers met Sara Joanne Byrd (called "Joanne") from Jacksonville, Florida, while attending Rollins College. They were married from 1952 until his death in 2003. They had two sons, James and John. Joanne was "an accomplished pianist", who like Fred earned a Bachelor of Music from Rollins, and went on to earn a Master of Music from Florida State University. She performed publicly with her college classmate, Jeannine Morrison, from 1976 to 2008. According to biographer Maxwell King, Rogers's close associates said he was "absolutely faithful to his marriage vows". Rogers was red-green color-blind. He became a pescatarian in 1970, after the death of his father, and a vegetarian in the early 1980s, saying he "couldn't eat anything that had a mother". He became a co-owner of Vegetarian Times in the mid-1980s and said in one issue, "I love tofu burgers and beets". He told Vegetarian Times that he became a vegetarian for both ethical and health reasons. According to his biographer Maxwell King, Rogers also signed his name to a statement protesting wearing animal furs. Rogers was a registered Republican, but according to Joanne Rogers, he was "very independent in the way he voted", choosing not to talk about politics because he wanted to be impartial. Rogers was a Presbyterian, and many of the messages he expressed in Mister Rogers' Neighborhood were inspired by the core tenets of Christianity. Rogers rarely spoke about his faith on air; he believed that teaching through example was as powerful as preaching. He said, "You don't need to speak overtly about religion in order to get a message across". According to writer Shea Tuttle, Rogers considered his faith a fundamental part of his personality and "called the space between the viewer and the television set 'holy ground'". But despite his strong faith, Rogers struggled with anger, conflict, and self-doubt, especially at the end of his life. He also studied Catholic mysticism, Judaism, Buddhism, and other faiths and cultures. King called him "that unique television star with a real spiritual life", emphasizing the values of patience, reflection, and "silence in a noisy world". King reported that despite Rogers's family's wealth, he cared little about making money, and lived frugally, especially as he and his wife grew older. King reported that Rogers's relationship with his young audience was important to him. For example, since hosting Misterogers in Canada, he answered every letter sent to him by hand. After Mister Rogers' Neighborhood began airing in the U.S., the letters increased in volume and he hired staff member and producer Hedda Sharapan to answer them, but he read, edited, and signed each one. King wrote that Rogers saw responding to his viewers' letters as "a pastoral duty of sorts". The New York Times called Rogers "a dedicated lap-swimmer", and Tom Junod, author of "Can You Say... Hero?", the 1998 Esquire profile of Rogers, said, "Nearly every morning of his life, Mister Rogers has gone swimming". Rogers began swimming when he was a child at his family's vacation home outside Latrobe, where they owned a pool, and during their winter trips to Florida. King wrote that swimming and playing the piano were "lifelong passions" and that "both gave him a chance to feel capable and in charge of his destiny", and that swimming became "an important part of the strong sense of self-discipline he cultivated". Rogers swam daily at the Pittsburgh Athletic Association, after waking every morning between 4:30 and 5:30 A.M. to pray and to "read the Bible and prepare himself for the day". He did not smoke or drink. According to Junod, he did nothing to change his weight from the he weighed for most of his adult life; by 1998, this also included napping daily, going to bed at 9:30 P.M., and sleeping eight hours per night without interruption. Junod said Rogers saw his weight "as a destiny fulfilled", telling Junod, "the number 143 means 'I love you.' It takes one letter to say 'I' and four letters to say 'love' and three letters to say 'you'". Death and memorials After Rogers's retirement in 2001, he remained busy working with FCI, studying religion and spirituality, making public appearances, traveling, and working on a children's media center named after him at Saint Vincent College in Latrobe with Archabbot Douglas Nowicki, chancellor of the college. By the summer of 2002, his chronic stomach pain became severe enough for him to see a doctor about it, and in October 2002, he was diagnosed with stomach cancer. He delayed treatment until after he served as Grand Marshal of the 2003 Rose Parade, with Art Linkletter and Bill Cosby in January. On January 6, Rogers underwent stomach surgery. He died less than two months later, on February 27, 2003, one month before his 75th birthday, at his home in Pittsburgh, with his wife of 50 years, Joanne, at his side. While comatose shortly before his death, he received the last rites of the Catholic Church from Archabbot Nowicki. The following day, the Pittsburgh Post-Gazette covered Rogers's death on the front page and dedicated an entire section to his death and impact. The newspaper also reported that by noon, the internet "was already full of appreciative pieces" by parents, viewers, producers, and writers. Rogers's death was widely lamented. Most U.S. metropolitan newspapers ran his obituary on their front page, and some dedicated entire sections to coverage of his death. WQED aired programs about Rogers the evening he died; the Post-Gazette reported that the ratings for their coverage were three times higher than their normal ratings. That same evening, Nightline on ABC broadcast a rerun of a recent interview with Rogers; the program got the highest ratings of the day, beating the February average ratings of Late Show with David Letterman and The Tonight Show with Jay Leno. On March 4, the U.S. House of Representatives unanimously passed a resolution honoring Rogers sponsored by Representative Mike Doyle from Pennsylvania. On March 1, 2003, a private funeral was held for Rogers in Unity Chapel, which was restored by Rogers's father, at Unity Cemetery in Latrobe. About 80 relatives, co-workers, and close friends attended the service, which "was planned in great secrecy so that those closest to him could grieve in private". Reverend John McCall, pastor of the Rogers family's church, Sixth Presbyterian Church in Squirrel Hill, gave the homily, and Reverend William Barker, a retired Presbyterian minister who was a "close friend of Mr. Rogers and the voice of Mr. Platypus on his show", read Rogers's favorite Bible passages. Rogers was interred at Unity Cemetery in Latrobe, Pennsylvania, in a mausoleum owned by his mother's family. On May 3, 2003, a public memorial was held at Heinz Hall in Pittsburgh. According to the Post-Gazette, 2,700 people attended. Violinist Itzhak Perlman, cellist Yo-Yo Ma (via video), and organist Alan Morrison performed in honor of Rogers. Barker officiated the service; also in attendance were Pittsburgh philanthropist Elsie Hillman, former Good Morning America host David Hartman, The Very Hungry Caterpillar author Eric Carle, and Arthur creator Marc Brown. Businesswoman and philanthropist Teresa Heinz, PBS President Pat Mitchell, and executive director of The Pittsburgh Project Saleem Ghubril gave remarks. Jeff Erlanger, who at age 10 appeared on Mister Rogers' Neighborhood in 1981 to explain his electric wheelchair, also spoke. The memorial was broadcast several times on Pittsburgh television stations and websites throughout the day. Legacy Marc Brown, creator of another PBS children's show, Arthur, considered Rogers both a friend and "a terrific role model for how to use television and the media to be helpful to kids and families". Josh Selig, creator of Wonder Pets, credits Rogers with influencing his use of structure and predictability, and his use of music, opera, and originality. Rogers inspired Angela Santomero, co-creator of the children's television show Blue's Clues, to earn a degree in developmental psychology and go into educational television. She and the other producers of Blue's Clues used many of Rogers's techniques, such as using child developmental and educational research, and having the host speak directly to the camera and transition to a make-believe world. In 2006, three years after Rogers's death and the end of production of Blue's Clues, the Fred Rogers Company contacted Santomero to create a show that would promote Rogers's legacy. In 2012, Daniel Tiger's Neighborhood, with characters from and based upon Mister Rogers' Neighborhood, premiered on PBS. Rogers's style and approach to children's television and early childhood education also "begged to be parodied". Comedian Eddie Murphy parodied Mister Rogers' Neighborhood on Saturday Night Live during the 1980s. Rogers told interviewer David Letterman in 1982 that he believed parodies like Murphy's were done "with kindness in their hearts". Video of Rogers's 1969 testimony in defense of public programming has experienced a resurgence since 2012, going viral at least twice. It first resurfaced after then presidential candidate Mitt Romney suggested cutting funding for PBS. In 2017, video of the testimony again went viral after President Donald Trump proposed defunding several arts-related government programs including PBS and the National Endowment for the Arts. A roadside Pennsylvania Historical Marker dedicated to Rogers to be installed in Latrobe was approved by the Pennsylvania Historical and Museum Commission on March 4, 2014. It was installed on June 11, 2016, with the title "Fred McFeely Rogers (1928–2003)". In 2018, Won't You Be My Neighbor?, director Morgan Neville's documentary about Rogers's life, grossed over $22 million and became the top-grossing biographical documentary ever produced, the highest-grossing documentary in five years, and the 12th largest-grossing documentary ever produced. The 2019 drama film A Beautiful Day in the Neighborhood tells the story of Rogers and his television series, with Tom Hanks portraying Rogers. According to Caitlin Gibson of The Washington Post, Rogers became a source for parenting advice; she called him "a timeless oracle against a backdrop of ever-shifting parenting philosophies and cultural trends". Robert Thompson of Syracuse University noted that Rogers "took American childhood—and I think Americans in general—through some very turbulent and trying times", from the Vietnam War and the assassination of Robert Kennedy in 1968 to the 9/11 attacks in 2001. According to Asia Simone Burns of National Public Radio, in the years following the end of production on Mister Rogers' Neighborhood in 2001, and his death in 2003, Rogers became "a source of comfort, sometimes in the wake of tragedy". Burns has said Rogers's words of comfort "began circulating on social media" following tragedies such as the Sandy Hook Elementary School shooting in 2012, the Manchester Arena bombing in Manchester, England, in 2017, and the Stoneman Douglas High School shooting in Parkland, Florida, in 2018. Awards and honors Museum exhibits Smithsonian Institution permanent collection. In 1984, Rogers donated one of his sweaters to the Smithsonian. Children's Museum of Pittsburgh. Exhibit created by Rogers and FCI in 1998. It attracted hundreds of thousand of visitors over 10 years, and included, from Mister Rogers' Neighborhood, one of his sweaters, a pair of his sneakers, original puppets from the program, and photographs of Rogers. The exhibit traveled to children's museums throughout the country for eight years until it was given to the Louisiana Children's Museum in New Orleans as a permanent exhibit, to help them recover from Hurricane Katrina in 2005. In 2007, the Children's Museum of Pittsburgh created a traveling exhibit based on the factory tours featured in episodes of Mister Rogers' Neighborhood. Heinz History Center permanent collection (2018). In honor of the 50th anniversary of Mister Rogers' Neighborhood and what would have been Rogers's 90th birthday. Louisiana Children's Museum. The museum contains an exhibit of Mister Rogers' Neighborhood, which debuted in 2007. The exhibit was donated by the Children's Museum of Pittsburgh. Fred Rogers Exhibit. The Exhibit displays the life, career and legacy of Rogers and includes photos, artifacts from Mister Rogers' Neighborhood and clips of the program and interviews featuring Rogers. It is located at the Fred Rogers Center. Art pieces There are several pieces of art dedicated to Rogers throughout Pittsburgh, including a 7,000-pound, 11-foot high bronze statue of him in the North Shore neighborhood. In the Oakland neighborhood, his portrait is included in the Martin Luther King Jr. and "Interpretations of Oakland" murals. A statue of a dinosaur titled "Fredasaurus Rex Friday XIII" originally stood in front of the WQED building and as of 2014 stands in front of the building that contains the Fred Rogers Company offices. There is a "Mister Rogers' Neighborhood of Make-Believe" in Idlewild Park and a kiosk of Mister Rogers' Neighborhood artifacts at Pittsburgh International Airport. The Carnegie Science Center's Miniature Railroad and Village debuted a miniature recreation of Rogers's house from Mister Rogers' Neighborhood in 2005. Honorary degrees Rogers has received honorary degrees from over 43 colleges and universities. After 1973, two commemorative quilts, created by two of Rogers's friends and archived at the Fred Rogers Center at St. Vincent College in Latrobe, were made out of the academic hoods he received during the graduation ceremonies. Note: Much of the below list is taken from "Honorary Degrees Awarded to Fred Rogers", unless otherwise stated. Thiel College, 1969. Thiel also awards a yearly scholarship named for Rogers. Eastern Michigan University, 1973 Saint Vincent College, 1973 Christian Theological Seminary, 1973 Rollins College, 1974 Yale University, 1974 Chatham College, 1975 Carnegie Mellon University, 1976 Lafayette College, 1977 Waynesburg College, 1978 Linfield College, 1982 Slippery Rock State College, 1982 Duquesne University, 1982 Washington & Jefferson College, 1984 University of South Carolina, 1985 Hobart and William Smith Colleges, 1985 Drury College, 1986 MacMurray College, 1986 Bowling Green State University, 1987 Westminster College (Pennsylvania), 1987 University of Indianapolis, 1988 University of Connecticut, 1991 Boston University, 1992 Indiana University of Pennsylvania, 1992 Moravian College, 1992 Goucher College, 1993 University of Pittsburgh, 1993 West Virginia University, 1995 North Carolina State University, 1996 Edinboro University of Pennsylvania, 1998 Marist College, 1999 Westminster Choir College, 1999 Old Dominion University, 2000 Marquette University, 2001 Middlebury College, 2001 Dartmouth College, 2002 Seton Hill University, 2003 (posthumous) Union College, 2003 (posthumous) Roanoke College, 2003 (posthumous) Filmography Television {\|class="wikitable sortable" \|- ! Year ! Title \|- \| 1954–1961 \| The Children's Corner \|- \| 1963–1966 \| Misterogers \|- \| 1964–1967 \| Butternut Square \|- \| 1968–2001 \| Mister Rogers' Neighborhood \|- \| 1977–1982 \| Christmastime with Mister Rogers \|- \| 1978–1981 \| Old Friends... New Friends \|- \| 1981 \| Sesame Street \|- \| 1988 \| Good Night, Little Ones! \|- \| 1991 \| Where in the World Is Carmen Sandiego? \|- \| 1994 \|Mr. Dressup's 25th Anniversary\|- \| 1994 \| Fred Rogers' Heroes\|- \| 1996 \| Dr. Quinn, Medicine Woman\|- \| 1997 \| Arthur\|- \| 1998 \| Wheel of Fortune\|- \| 2003 \| 114th Annual Tournament of Roses Parade\|} Published works Children's books Our Small World (with Josie Carey, illustrated by Norb Nathanson), 1954, Reed and Witting, The Elves, the Shoemaker, & the Shoemaker's Wife (illustrated by Richard Hefter), 1973, Small World Enterprises, The Matter of the Mittens, 1973, Small World Enterprises, Speedy Delivery (illustrated by Richard Hefter), 1973, Hubbard, Henrietta Meets Someone New (illustrated by Jason Art Studios), 1974, Golden Press, Mister Rogers Talks About, 1974, Platt & Munk, Time to Be Friends, 1974, Hallmark Cards, Everyone is Special (illustrated by Jason Art Studios), 1975, Western Publishing, Tell Me, Mister Rogers, 1975, Platt & Munk, The Costume Party (illustrated by Jason Art Studios), 1976, Golden Press, Planet Purple (illustrated by Dennis Hockerman), 1986, Texas Instruments, If We Were All the Same (illustrated by Pat Sustendal), 1987, Random House, A Trolley Visit to Make-Believe (illustrated by Pat Sustendal), 1987, Random House, Wishes Don't Make Things Come True (illustrated Pat Sustendal), 1987, Random House, No One Can Ever Take Your Place (illustrated by Pat Sustendal), 1988, Random House, When Monsters Seem Real (illustrated by Pat Sustendal), 1988, Random House, You Can Never Go Down the Drain (illustrated by Pat Sustendal), 1988, Random House, The Giving Box (illustrated by Jennifer Herbert), 2000, Running Press, Good Weather or Not (with Hedda Bluestone Sharapan, illustrated by James Mellet), 2005, Family Communications, Josephine the Short Neck-Giraffe, 2006, Family Communications, A Beautiful Day in the Neighborhood: The Poetry of Mister Rogers Neighborhood (illustrated by Luke Flowers), 2009, Quirk Books, First Experiences series illustrated by Jim Judkis Going to Day Care, 1985, Putnam, The New Baby, 1985, Putnam, Going to the Potty, 1986, Putnam, Going to the Doctor, 1986, Putnam, Making Friends, 1987, Putnam, Moving, 1987, Putnam, Going to the Hospital, 1988, Putnam, When a Pet Dies, 1988, Putnam, Going on an Airplane, 1989, Putnam, Going to the Dentist, 1989, Putnam, Let's Talk About It series Going to the Hospital, 1977, Family Communications, Having an Operation, 1977, Family Communications, So Many Things To See!, 1977, Family Communications, Wearing a Cast, 1977, Family Communications, Adoption, 1993, Putnam, Divorce, 1994, Putnam, Extraordinary Friends, 2000, Putnam, Stepfamilies, 2001, Putnam, Songbooks Tomorrow on the Children's Corner (with Josie Carey, illustrated by Mal Wittman), 1960, Vernon Music Corporation, Mister Rogers' Songbook (with Johnny Costa, illustrated by Steven Kellogg), 1970, Random House, Books for adults Mister Rogers Talks to Parents, 1983, Family Communications, Mister Rogers' Playbook (with Barry Head, illustrated by Jamie Adams), 1986, Berkley Books, Mister Rogers Talks with Families About Divorce (with Clare O'Brien), 1987, Berkley Books, Mister Rogers' How Families Grow (with Barry Head and Jim Prokell), 1988, Berkley Books, You Are Special: Words of Wisdom from America's Most Beloved Neighbor, 1994, Penguin Books, Dear Mister Rogers, 1996, Penguin Books, Mister Rogers' Playtime, 2001, Running Press, The Mister Rogers Parenting Book, 2002, Running Press, You are special: Neighborly Wisdom from Mister Rogers, 2002, Running Press, The World According to Mister Rogers, 2003, Hyperion Books, Life's Journeys According to Mister Rogers, 2005, Hyperion Books, The Mister Rogers Parenting Resource Book, 2005, Courage Books, Many Ways to Say I Love You: Wisdom For Parents And Children, 2019, Hachette Books, Discography Around the Children's Corner (with Josey Carey), 1958, Vernon Music Corporation, Tomorrow on the Children's Corner (with Josie Carey), 1959 King Friday XIII Celebrates, 1964 Won't You Be My Neighbor?, 1967 Let's Be Together Today, 1968 Josephine the Short-Neck Giraffe, 1969 You Are Special, 1969 A Place of Our Own, 1970 Come On and Wake Up, 1972 Growing, 1992 Bedtime, 1992 Won't You Be My Neighbor? (cassette and book), 1994, Hal Leonard, Coming and Going, 1997 It's Such A Good Feeling: The Best Of Mister Rogers, 2019, Omnivore Recordings, posthumous release See also Won't You Be My Neighbor?, 2018 documentary Mister Rogers: It's You I Like, 2018 documentary A Beautiful Day in the Neighborhood, 2019 biographical drama film List of vegetarians Notes References Works cited Gross, Terry (1984). "Terry Gross and Fred Rogers". Fresh Air. NPR. King, Maxwell (2018). The Good Neighbor: The Life and Work of Fred Rogers. Abrams Press. . Tiech, John (2012). Pittsburgh Film History: On Set in the Steel City''. Charleston, North Carolina: The History Press. . External links PBS Kids: Official Site The Fred M. Rogers Center The Fred Rogers Company (formerly known as Family Communications) 1984 interview with Fred Rogers. The Music of Mister Rogers—Pittsburgh Music History Fred Rogers at Voice Chasers 1928 births 2003 deaths 20th-century American composers 20th-century American male actors 20th-century American male writers 20th-century American singers 20th-century Presbyterians 21st-century Presbyterians American children's television presenters American male composers American male singers American male songwriters American male television actors American male voice actors American philanthropists American Presbyterian ministers American Presbyterians American puppeteers American television hosts Burials in Pennsylvania Christianity in Pittsburgh Columbia Records artists Dartmouth College alumni Daytime Emmy Award winners Deaths from cancer in Pennsylvania Deaths from stomach cancer Male actors from Pittsburgh Omnivore Recordings artists PBS people Peabody Award winners Pennsylvania Republicans People from Latrobe, Pennsylvania Pittsburgh Theological Seminary alumni Presbyterians from Pennsylvania Presidential Medal of Freedom recipients Rollins College alumni Singers from Pennsylvania Songwriters from Pennsylvania Television personalities from Pittsburgh Television producers from Pennsylvania United Presbyterian Church in the United States of America ministers Vegetarianism activists Writers from Pittsburgh Articles containing video clips	false	[ "\"What She's Doing Now\" is a song co-written and recorded by American country music singer Garth Brooks. It was released in December 1991 as the third single from his album Ropin' the Wind. It spent four weeks at the top of the Billboard Hot Country Singles & Tracks chart. It was co-written by Pat Alger.\n\nContent\nThe song is a ballad about a man who wonders what his former lover is currently doing and what her whereabouts are (\"last I heard she had moved to Boulder\"). While the singer has no idea what she is doing now, he proclaims \"what she's doing now is tearing [him] apart\".\n\nBackground and production\nBrooks provided the following background information on the song in the CD booklet liner notes from The Hits:\n\n\"What She's Doing Now\" was an idea I had a long, long time about a man wondering what a woman was doing. And it was very simple. What is she doing now? Is she hanging out the clothes? Is she running a business? Is she a mother? Is she married? Who is she with? When I told the idea to Pat Alger, he looked at me with a smile and said, 'I wonder if she knows what she's doing now to me?' When I heard that, the bumps went over my arms and the back of my neck, and I knew that he had something. Crystal Gayle cut this song back in 1989. It came back to us for the Ropin' The Wind album. It is a song that has crossed all boundaries and borders around the world. This has made me extremely happy because the greatest gift a writer can ask for is to relate to someone. I can't help but think that this song might relate to a lot of people.\"\n\nOther versions\nWhile Garth Brooks penned the song, he was not the first person to release it. On the 1990 release Ain't Gonna Worry'', Crystal Gayle recorded the song as \"What He's Doing Now\"; her version was not released as a single.\n\nTrack listing\nEuropean CD single\nLiberty CDCL 656\n\"What She's Doing Now\"\n\"Shameless\"\n\"We Bury The Hatchet\"\nUS 7\" Jukebox single\nLiberty S7-57784\n\"What She's Doing Now\"\n\"Friends in Low Places\"\n\nChart positions\n\nYear-end charts\n\nReferences\n\n1991 singles\nCrystal Gayle songs\nGarth Brooks songs\nSongs written by Pat Alger\nSongs written by Garth Brooks\nSong recordings produced by Allen Reynolds\nLiberty Records singles\n1991 songs", "\"I Love What Love Is Doing to Me\" is a song written by Johnny Cunningham. It was recorded by American country music artist Lynn Anderson and released as a single in 1977 via Columbia Records, becoming a top 40 hit that year.\n\nBackground and release\n\"I Love What Love Is Doing to Me\" was recorded in April 1977 at the Columbia Studio, located in Nashville, Tennessee. The sessions was produced by Glenn Sutton, Anderson's longtime production collaborator at the label and her first husband. It was co-produced by Steve Gibson, making the session Anderson's first experience under the co-production of Gibson. Nine additional tracks were recorded at this particular session, including the major hit \"He Ain't You.\"\n\n\"I Love What Love Is Doing to Me\" was released as a single in May 1977 via Columbia Records. The song spent ten weeks on the Billboard Hot Country Singles chart before reaching number 22 in July 1977. The song was issued on Anderson's 1977 studio album I Love What Love Is Doing to Me/He Ain't You.\n\nTrack listings \n7\" vinyl single\n \"I Love What Love Is Doing to Me\" – 2:10\n \"Will I Ever Hear Those Churchbells Ring?\" – 3:32\n\nChart performance\n\nReferences\n\n1977 singles\n1977 songs\nColumbia Records singles\nLynn Anderson songs\nSong recordings produced by Glenn Sutton" ]
[ "Fred Rogers", "VCR", "what is fred rogers most known for?", "Rogers was involved in supporting the manufacturers of VCRs in court.", "how did he support them?", "His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs,", "what was the case outcome?", "When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright.", "what is he doing now?", "I don't know." ]	C_f973880c74e14646b417dd7804c9af66_0	anything else interesting?	5	Other than the case between Sony Corp. of America v. Universal City Studios, Inc., is there anything else interesting?	Fred Rogers	During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER	Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it	Fred McFeely Rogers (March 20, 1928 – February 27, 2003), also known as Mister Rogers, was an American television host, author, producer, and Presbyterian minister. He was the creator, showrunner, and host of the preschool television series Mister Rogers' Neighborhood, which ran from 1968 to 2001. Born in Latrobe, Pennsylvania, near Pittsburgh, Rogers earned a bachelor's degree in music from Rollins College in 1951. He began his television career at NBC in New York, returning to Pittsburgh in 1953 to work for children's programming at NET (later PBS) television station WQED. He graduated from Pittsburgh Theological Seminary with a bachelor's degree in divinity in 1962 and became a Presbyterian minister in 1963. He attended the University of Pittsburgh's Graduate School of Child Development, where he began his 30-year collaboration with child psychologist Margaret McFarland. He also helped develop the children's shows The Children's Corner (1955) for WQED in Pittsburgh and Misterogers (1963) in Canada for the Canadian Broadcasting Corporation. In 1968, he returned to Pittsburgh and adapted the format of his Canadian series to create Mister Rogers' Neighborhood, which ran for 33 years. The program was critically acclaimed for focusing on children's emotional and physical concerns, such as death, sibling rivalry, school enrollment, and divorce. Rogers died of stomach cancer on February 27, 2003, at age 74. His work in children's television has been widely lauded, and he received more than 40 honorary degrees and several awards, including the Presidential Medal of Freedom in 2002 and a Lifetime Achievement Emmy in 1997. He was inducted into the Television Hall of Fame in 1999. Rogers influenced many writers and producers of children's television shows, and his broadcasts have served as a source of comfort during tragic events, even after his death. Early life Rogers was born on March 20, 1928, in Latrobe, Pennsylvania, about outside of Pittsburgh, at 705 Main Street to James and Nancy Rogers. James was "a very successful businessman" who was president of the McFeely Brick Company, one of Latrobe's largest businesses. Nancy's father, Fred Brooks McFeely, after whom Rogers was named, was an entrepreneur. Nancy knitted sweaters for American soldiers from western Pennsylvania who were fighting in Europe and regularly volunteered at the Latrobe Hospital. Initially, dreaming of becoming a doctor, she settled for a life of hospital volunteer work. Rogers grew up in a three-story brick mansion at 737 Weldon Street in Latrobe. He had a sister, Elaine, whom the Rogerses adopted when he was 11 years old. Rogers spent much of his childhood alone, playing with puppets, and also spent time with his grandfather. He began to play the piano when he was five years old. Through an ancestor who immigrated from Germany to the U.S., Johannes Meffert (born 1732), Rogers is the sixth cousin of American actor Tom Hanks, who portrays him in the film A Beautiful Day in the Neighborhood (2019). Rogers had a difficult childhood. He was shy, introverted, and overweight, and was frequently homebound after suffering bouts of asthma. He was bullied and taunted as a child for his weight, and called "Fat Freddy". According to Morgan Neville, director of the 2018 documentary Won't You Be My Neighbor?, Rogers had a "lonely childhood... I think he made friends with himself as much as he could. He had a ventriloquist dummy, he had [stuffed] animals, and he would create his own worlds in his childhood bedroom". Rogers attended Latrobe High School, where he overcame his shyness. "It was tough for me at the beginning," Rogers told NPR's Terry Gross in 1984. "And then I made a couple friends who found out that the core of me was okay. And one of them was... the head of the football team". Rogers served as president of the student council, was a member of the National Honor Society, and was editor-in-chief of the school yearbook. He registered for the draft in Greensburg, Pennsylvania, in 1948 at age 20, where he was classified as “1-A”, available for military service. However, his status was changed to “4-F”, unfit for military service, following an Armed Forces physical on October 12, 1950. Rogers attended Dartmouth College for one year before transferring to Rollins College in Winter Park, Florida; he graduated magna cum laude in 1951 with a Bachelor of Music. Rogers graduated magna cum laude from Pittsburgh Theological Seminary in 1962 with a Bachelor of Divinity. He was ordained a minister by the Pittsburgh Presbytery of the United Presbyterian Church in 1963. His mission as an ordained minister, instead of being a pastor of a church, was to minister to children and their families through television. He regularly appeared before church officials to keep up his ordination. Career Early work Rogers wanted to enter seminary after college, but instead chose to go into the nascent medium of television after encountering a TV at his parents' home in 1951 during his senior year at Rollins College. In a CNN interview, he said, "I went into television because I hated it so, and I thought there's some way of using this fabulous instrument to nurture those who would watch and listen". After graduating in 1951, he worked at NBC in New York City as floor director of Your Hit Parade, The Kate Smith Hour, and Gabby Hayes's children's show, and as an assistant producer of The Voice of Firestone. In 1953, Rogers returned to Pittsburgh to work as a program developer at public television station WQED. Josie Carey worked with him to develop the children's show The Children's Corner, which Carey hosted. Rogers worked off-camera to develop puppets, characters, and music for the show. He used many of the puppet characters developed during this time, such as Daniel the Striped Tiger (named after WQED's station manager, Dorothy Daniel, who gave Rogers a tiger puppet before the show's premiere), King Friday XIII, Queen Sara Saturday (named after Rogers's wife), X the Owl, Henrietta, and Lady Elaine, in his later work. Children's television entertainer Ernie Coombs was an assistant puppeteer. The Children's Corner won a Sylvania Award for best locally produced children's programming in 1955 and was broadcast nationally on NBC. While working on The Children's Corner, Rogers attended Pittsburgh Theological Seminary, and was ordained as a Presbyterian minister in 1963. He also attended the University of Pittsburgh's Graduate School of Child Development, where he began working with child psychologist Margaret McFarland, who according to Rogers's biographer Maxwell King became his "key advisor and collaborator" and "child-education guru". Much of Rogers's "thinking about and appreciation for children was shaped and informed" by McFarland. She was his consultant for most of Mister Rogers' Neighborhoods scripts and songs for 30 years. In 1963, the Canadian Broadcasting Corporation (CBC) in Toronto contracted Rogers to develop and host the 15-minute black-and-white children's program Misterogers; it lasted from 1963 to 1967. It was the first time Rogers appeared on camera. CBC's children's programming head Fred Rainsberry insisted on it, telling Rogers, "Fred, I've seen you talk with kids. Let's put you yourself on the air". Coombs joined Rogers in Toronto as an assistant puppeteer. Rogers also worked with Coombs on the children's show Butternut Square from 1964 to 1967. He acquired the rights to Misterogers in 1967 and returned to Pittsburgh with his wife, two young sons, and the sets he developed, despite a potentially promising career with CBC and no job prospects in Pittsburgh. On Rogers' recommendation, Coombs remained in Toronto and became Rogers' Canadian equivalent of an iconic television personality, creating the long-running children's program, Mr. Dressup, which ran from 1967 to 1996. Rogers's work for CBC "helped shape and develop the concept and style of his later program for the Public Broadcasting Service (PBS) in the U.S." Mister Rogers' Neighborhood Mister Rogers' Neighborhood (also called the Neighborhood), a half-hour educational children's program starring Rogers, began airing nationally in 1968 and ran for 895 episodes. The program was videotaped at WQED in Pittsburgh and was broadcast by National Educational Television (NET), which later became the Public Broadcasting Service (PBS). Its first season had 180 black-and-white episodes. Each subsequent season, filmed in color and funded by PBS, the Sears-Roebuck Foundation, and other charities, consisted of 65 episodes. By the time the program ended production in December 2000, its average rating was about 0.7 percent of television households, or 680,000 homes, and it aired on 384 PBS stations. At its peak in 1985–1986, its ratings were at 2.1 percent, or 1.8 million homes. Production of the Neighborhood ended in December 2000, and the last original episode aired in 2001, but PBS continued to air reruns; by 2016 it was the third-longest running program in PBS history. Many of the sets and props in Mister Rogers' Neighborhood, like the trolley, the sneakers, and the castle, were created for Rogers's show in Toronto by CBC designers and producers. The program also "incorporated most of the highly imaginative elements that later became famous", such as its slow pace and its host's quiet manner. The format of Mister Rogers' Neighborhood "remained virtually unchanged" for the entire run of the program. Every episode begins with a camera's-eye view of a model of a neighborhood, then panning in closer to a representation of a house while a piano instrumental of the theme song, "Won't You be My Neighbor?", performed by music director Johnny Costa and inspired by a Beethoven sonata, is played. The camera zooms in to a model representing Mr. Rogers's house, then cuts to the house's interior and pans across the room to the front door, which Rogers opens as he sings the theme song to greet his visitors while changing his suit jacket to a cardigan (knitted by his mother) and his dress shoes to sneakers, "complete with a shoe tossed from one hand to another". The episode's theme is introduced, and Mr. Rogers leaves his home to visit another location, the camera panning back to the neighborhood model and zooming in to the new location as he enters it. Once this segment ends, Mr. Rogers leaves and returns to his home, indicating that it is time to visit the Neighborhood of Make-Believe. Mr. Rogers proceeds to the window seat by the trolley track and sets up the action there as the Trolley comes out. The camera follows it down a tunnel in the back wall of the house as it enters the Neighborhood of Make-Believe. The stories and lessons told take place over a series of a week's worth of episodes and involve puppet and human characters. The end of the visit occurs when the Trolley returns to the same tunnel from which it emerged, reappearing in Mr. Rogers's home. He then talks to the viewers before concluding the episode. He often feeds his fish, cleans up any props he has used, and returns to the front room, where he sings the closing song while changing back into his dress shoes and jacket. He exits the front door as he ends the song, and the camera zooms out of his home and pans across the neighborhood model as the episode ends. Mister Rogers' Neighborhood emphasized young children's social and emotional needs, and unlike another PBS show, Sesame Street, which premiered in 1969, did not focus on cognitive learning. Writer Kathy Merlock Jackson said, "While both shows target the same preschool audience and prepare children for kindergarten, Sesame Street concentrates on school-readiness skills while Mister Rogers Neighborhood focuses on the child's developing psyche and feelings and sense of moral and ethical reasoning". The Neighborhood also spent fewer resources on research than Sesame Street, but Rogers used early childhood education concepts taught by his mentor Margaret McFarland, Benjamin Spock, Erik Erikson, and T. Berry Brazelton in his lessons. As the Washington Post noted, Rogers taught young children about civility, tolerance, sharing, and self-worth "in a reassuring tone and leisurely cadence". He tackled difficult topics such as the death of a family pet, sibling rivalry, the addition of a newborn into a family, moving and enrolling in a new school, and divorce. For example, he wrote a special segment that dealt with the assassination of Robert F. Kennedy that aired on June 7, 1968, days after the assassination occurred. According to King, the process of putting each episode of Mister Rogers' Neighborhood together was "painstaking" and Rogers's contribution to the program was "astounding". Rogers wrote and edited all the episodes, played the piano and sang for most of the songs, wrote 200 songs and 13 operas, created all the characters (both puppet and human), played most of the major puppet roles, hosted every episode, and produced and approved every detail of the program. The puppets created for the Neighborhood of Make-Believe "included an extraordinary variety of personalities". They were simple puppets but "complex, complicated, and utterly honest beings". In 1971, Rogers formed Family Communications, Inc. (FCI, now The Fred Rogers Company), to produce the Neighborhood, other programs, and non-broadcast materials. In 1975, Rogers stopped producing Mr. Rogers' Neighborhood to focus on adult programming. Reruns of the Neighborhood continued to air on PBS. King reports that the decision caught many of his coworkers and supporters "off guard". Rogers continued to confer with McFarland about child development and early childhood education, however. In 1979, after an almost five-year hiatus, Rogers returned to producing the Neighborhood; King calls the new version "stronger and more sophisticated than ever". King writes that by the program's second run in the 1980s, it was "such a cultural touchstone that it had inspired numerous parodies", most notably Eddie Murphy's parody on Saturday Night Live in the early 1980s. Rogers retired from producing the Neighborhood in 2001 at age 73, although reruns continued to air. He and FCI had been making about two or three weeks of new programs per year for many years, "filling the rest of his time slots from a library of about 300 shows made since 1979". The final original episode of Mister Rogers' Neighborhood aired on August 31, 2001. Other work and appearances In 1969, Rogers testified before the U.S. Senate Subcommittee on Communications, which was chaired by Democratic Senator John Pastore of Rhode Island. U.S. President Lyndon Johnson had proposed a $20 million bill for the creation of PBS before he left office, but his successor, Richard Nixon, wanted to cut the funding to $10 million. Even though Rogers was not yet nationally known, he was chosen to testify because of his ability to make persuasive arguments and to connect emotionally with his audience. The clip of Rogers's testimony, which was televised and has since been viewed by millions of people on the internet, helped to secure funding for PBS for many years afterwards. According to King, Rogers's testimony was "considered one of the most powerful pieces of testimony ever offered before Congress, and one of the most powerful pieces of video presentation ever filmed". It brought Pastore to tears and also, according to King, has been studied by public relations experts and academics. Congressional funding for PBS increased from $9 million to $22 million. In 1970, Nixon appointed Rogers as chair of the White House Conference on Children and Youth. In 1978, while on hiatus from Mister Rogers' Neighborhood, Rogers wrote, produced, and hosted a 30-minute interview program for adults on PBS called Old Friends... New Friends. It lasted 20 episodes. Rogers's guests included Hoagy Carmichael, Helen Hayes, Milton Berle, Lorin Hollander, poet Robert Frost's daughter Lesley, and Willie Stargell. In September 1987, Rogers visited Moscow to appear as the first guest on the long-running Soviet children's TV show Good Night, Little Ones! with host Tatiana Vedeneyeva. The appearance was broadcast in the Soviet Union on December 7, coinciding with the Washington Summit meeting between Soviet leader Mikhail Gorbachev and U.S. President Ronald Reagan in Washington D.C. Vedeneyeva visited the set of Mister Rogers' Neighborhood in November. Her visit was taped and later aired in March 1988 as part of Rogers's program. In 1994, Rogers wrote, produced, and hosted a special for PBS called Fred Rogers' Heroes, which featured interviews and portraits of four people from across the country who were having a positive impact on children and education. The first time Rogers appeared on television as an actor, and not himself, was in a 1996 episode of Dr. Quinn, Medicine Woman, playing a preacher. Rogers gave "scores of interviews". Though reluctant to appear on television talk shows, he would usually "charm the host with his quick wit and ability to ad-lib on a moment's notice". Rogers was "one of the country's most sought-after commencement speakers", making over 150 speeches. His friend and colleague David Newell reported that Rogers would "agonize over a speech", and King reported that Rogers was at his least guarded during his speeches, which were about children, television, education, his view of the world, how to make the world a better place, and his quest for self-knowledge. His tone was quiet and informal but "commanded attention". In many speeches, including the ones he made accepting a Lifetime Achievement Emmy in 1997, for his induction into the Television Hall of Fame in 1999, and his final commencement speech at Dartmouth College in 2002, he instructed his audiences to remain silent and think for a moment about someone who had a good influence on them. Personal life Rogers met Sara Joanne Byrd (called "Joanne") from Jacksonville, Florida, while attending Rollins College. They were married from 1952 until his death in 2003. They had two sons, James and John. Joanne was "an accomplished pianist", who like Fred earned a Bachelor of Music from Rollins, and went on to earn a Master of Music from Florida State University. She performed publicly with her college classmate, Jeannine Morrison, from 1976 to 2008. According to biographer Maxwell King, Rogers's close associates said he was "absolutely faithful to his marriage vows". Rogers was red-green color-blind. He became a pescatarian in 1970, after the death of his father, and a vegetarian in the early 1980s, saying he "couldn't eat anything that had a mother". He became a co-owner of Vegetarian Times in the mid-1980s and said in one issue, "I love tofu burgers and beets". He told Vegetarian Times that he became a vegetarian for both ethical and health reasons. According to his biographer Maxwell King, Rogers also signed his name to a statement protesting wearing animal furs. Rogers was a registered Republican, but according to Joanne Rogers, he was "very independent in the way he voted", choosing not to talk about politics because he wanted to be impartial. Rogers was a Presbyterian, and many of the messages he expressed in Mister Rogers' Neighborhood were inspired by the core tenets of Christianity. Rogers rarely spoke about his faith on air; he believed that teaching through example was as powerful as preaching. He said, "You don't need to speak overtly about religion in order to get a message across". According to writer Shea Tuttle, Rogers considered his faith a fundamental part of his personality and "called the space between the viewer and the television set 'holy ground'". But despite his strong faith, Rogers struggled with anger, conflict, and self-doubt, especially at the end of his life. He also studied Catholic mysticism, Judaism, Buddhism, and other faiths and cultures. King called him "that unique television star with a real spiritual life", emphasizing the values of patience, reflection, and "silence in a noisy world". King reported that despite Rogers's family's wealth, he cared little about making money, and lived frugally, especially as he and his wife grew older. King reported that Rogers's relationship with his young audience was important to him. For example, since hosting Misterogers in Canada, he answered every letter sent to him by hand. After Mister Rogers' Neighborhood began airing in the U.S., the letters increased in volume and he hired staff member and producer Hedda Sharapan to answer them, but he read, edited, and signed each one. King wrote that Rogers saw responding to his viewers' letters as "a pastoral duty of sorts". The New York Times called Rogers "a dedicated lap-swimmer", and Tom Junod, author of "Can You Say... Hero?", the 1998 Esquire profile of Rogers, said, "Nearly every morning of his life, Mister Rogers has gone swimming". Rogers began swimming when he was a child at his family's vacation home outside Latrobe, where they owned a pool, and during their winter trips to Florida. King wrote that swimming and playing the piano were "lifelong passions" and that "both gave him a chance to feel capable and in charge of his destiny", and that swimming became "an important part of the strong sense of self-discipline he cultivated". Rogers swam daily at the Pittsburgh Athletic Association, after waking every morning between 4:30 and 5:30 A.M. to pray and to "read the Bible and prepare himself for the day". He did not smoke or drink. According to Junod, he did nothing to change his weight from the he weighed for most of his adult life; by 1998, this also included napping daily, going to bed at 9:30 P.M., and sleeping eight hours per night without interruption. Junod said Rogers saw his weight "as a destiny fulfilled", telling Junod, "the number 143 means 'I love you.' It takes one letter to say 'I' and four letters to say 'love' and three letters to say 'you'". Death and memorials After Rogers's retirement in 2001, he remained busy working with FCI, studying religion and spirituality, making public appearances, traveling, and working on a children's media center named after him at Saint Vincent College in Latrobe with Archabbot Douglas Nowicki, chancellor of the college. By the summer of 2002, his chronic stomach pain became severe enough for him to see a doctor about it, and in October 2002, he was diagnosed with stomach cancer. He delayed treatment until after he served as Grand Marshal of the 2003 Rose Parade, with Art Linkletter and Bill Cosby in January. On January 6, Rogers underwent stomach surgery. He died less than two months later, on February 27, 2003, one month before his 75th birthday, at his home in Pittsburgh, with his wife of 50 years, Joanne, at his side. While comatose shortly before his death, he received the last rites of the Catholic Church from Archabbot Nowicki. The following day, the Pittsburgh Post-Gazette covered Rogers's death on the front page and dedicated an entire section to his death and impact. The newspaper also reported that by noon, the internet "was already full of appreciative pieces" by parents, viewers, producers, and writers. Rogers's death was widely lamented. Most U.S. metropolitan newspapers ran his obituary on their front page, and some dedicated entire sections to coverage of his death. WQED aired programs about Rogers the evening he died; the Post-Gazette reported that the ratings for their coverage were three times higher than their normal ratings. That same evening, Nightline on ABC broadcast a rerun of a recent interview with Rogers; the program got the highest ratings of the day, beating the February average ratings of Late Show with David Letterman and The Tonight Show with Jay Leno. On March 4, the U.S. House of Representatives unanimously passed a resolution honoring Rogers sponsored by Representative Mike Doyle from Pennsylvania. On March 1, 2003, a private funeral was held for Rogers in Unity Chapel, which was restored by Rogers's father, at Unity Cemetery in Latrobe. About 80 relatives, co-workers, and close friends attended the service, which "was planned in great secrecy so that those closest to him could grieve in private". Reverend John McCall, pastor of the Rogers family's church, Sixth Presbyterian Church in Squirrel Hill, gave the homily, and Reverend William Barker, a retired Presbyterian minister who was a "close friend of Mr. Rogers and the voice of Mr. Platypus on his show", read Rogers's favorite Bible passages. Rogers was interred at Unity Cemetery in Latrobe, Pennsylvania, in a mausoleum owned by his mother's family. On May 3, 2003, a public memorial was held at Heinz Hall in Pittsburgh. According to the Post-Gazette, 2,700 people attended. Violinist Itzhak Perlman, cellist Yo-Yo Ma (via video), and organist Alan Morrison performed in honor of Rogers. Barker officiated the service; also in attendance were Pittsburgh philanthropist Elsie Hillman, former Good Morning America host David Hartman, The Very Hungry Caterpillar author Eric Carle, and Arthur creator Marc Brown. Businesswoman and philanthropist Teresa Heinz, PBS President Pat Mitchell, and executive director of The Pittsburgh Project Saleem Ghubril gave remarks. Jeff Erlanger, who at age 10 appeared on Mister Rogers' Neighborhood in 1981 to explain his electric wheelchair, also spoke. The memorial was broadcast several times on Pittsburgh television stations and websites throughout the day. Legacy Marc Brown, creator of another PBS children's show, Arthur, considered Rogers both a friend and "a terrific role model for how to use television and the media to be helpful to kids and families". Josh Selig, creator of Wonder Pets, credits Rogers with influencing his use of structure and predictability, and his use of music, opera, and originality. Rogers inspired Angela Santomero, co-creator of the children's television show Blue's Clues, to earn a degree in developmental psychology and go into educational television. She and the other producers of Blue's Clues used many of Rogers's techniques, such as using child developmental and educational research, and having the host speak directly to the camera and transition to a make-believe world. In 2006, three years after Rogers's death and the end of production of Blue's Clues, the Fred Rogers Company contacted Santomero to create a show that would promote Rogers's legacy. In 2012, Daniel Tiger's Neighborhood, with characters from and based upon Mister Rogers' Neighborhood, premiered on PBS. Rogers's style and approach to children's television and early childhood education also "begged to be parodied". Comedian Eddie Murphy parodied Mister Rogers' Neighborhood on Saturday Night Live during the 1980s. Rogers told interviewer David Letterman in 1982 that he believed parodies like Murphy's were done "with kindness in their hearts". Video of Rogers's 1969 testimony in defense of public programming has experienced a resurgence since 2012, going viral at least twice. It first resurfaced after then presidential candidate Mitt Romney suggested cutting funding for PBS. In 2017, video of the testimony again went viral after President Donald Trump proposed defunding several arts-related government programs including PBS and the National Endowment for the Arts. A roadside Pennsylvania Historical Marker dedicated to Rogers to be installed in Latrobe was approved by the Pennsylvania Historical and Museum Commission on March 4, 2014. It was installed on June 11, 2016, with the title "Fred McFeely Rogers (1928–2003)". In 2018, Won't You Be My Neighbor?, director Morgan Neville's documentary about Rogers's life, grossed over $22 million and became the top-grossing biographical documentary ever produced, the highest-grossing documentary in five years, and the 12th largest-grossing documentary ever produced. The 2019 drama film A Beautiful Day in the Neighborhood tells the story of Rogers and his television series, with Tom Hanks portraying Rogers. According to Caitlin Gibson of The Washington Post, Rogers became a source for parenting advice; she called him "a timeless oracle against a backdrop of ever-shifting parenting philosophies and cultural trends". Robert Thompson of Syracuse University noted that Rogers "took American childhood—and I think Americans in general—through some very turbulent and trying times", from the Vietnam War and the assassination of Robert Kennedy in 1968 to the 9/11 attacks in 2001. According to Asia Simone Burns of National Public Radio, in the years following the end of production on Mister Rogers' Neighborhood in 2001, and his death in 2003, Rogers became "a source of comfort, sometimes in the wake of tragedy". Burns has said Rogers's words of comfort "began circulating on social media" following tragedies such as the Sandy Hook Elementary School shooting in 2012, the Manchester Arena bombing in Manchester, England, in 2017, and the Stoneman Douglas High School shooting in Parkland, Florida, in 2018. Awards and honors Museum exhibits Smithsonian Institution permanent collection. In 1984, Rogers donated one of his sweaters to the Smithsonian. Children's Museum of Pittsburgh. Exhibit created by Rogers and FCI in 1998. It attracted hundreds of thousand of visitors over 10 years, and included, from Mister Rogers' Neighborhood, one of his sweaters, a pair of his sneakers, original puppets from the program, and photographs of Rogers. The exhibit traveled to children's museums throughout the country for eight years until it was given to the Louisiana Children's Museum in New Orleans as a permanent exhibit, to help them recover from Hurricane Katrina in 2005. In 2007, the Children's Museum of Pittsburgh created a traveling exhibit based on the factory tours featured in episodes of Mister Rogers' Neighborhood. Heinz History Center permanent collection (2018). In honor of the 50th anniversary of Mister Rogers' Neighborhood and what would have been Rogers's 90th birthday. Louisiana Children's Museum. The museum contains an exhibit of Mister Rogers' Neighborhood, which debuted in 2007. The exhibit was donated by the Children's Museum of Pittsburgh. Fred Rogers Exhibit. The Exhibit displays the life, career and legacy of Rogers and includes photos, artifacts from Mister Rogers' Neighborhood and clips of the program and interviews featuring Rogers. It is located at the Fred Rogers Center. Art pieces There are several pieces of art dedicated to Rogers throughout Pittsburgh, including a 7,000-pound, 11-foot high bronze statue of him in the North Shore neighborhood. In the Oakland neighborhood, his portrait is included in the Martin Luther King Jr. and "Interpretations of Oakland" murals. A statue of a dinosaur titled "Fredasaurus Rex Friday XIII" originally stood in front of the WQED building and as of 2014 stands in front of the building that contains the Fred Rogers Company offices. There is a "Mister Rogers' Neighborhood of Make-Believe" in Idlewild Park and a kiosk of Mister Rogers' Neighborhood artifacts at Pittsburgh International Airport. The Carnegie Science Center's Miniature Railroad and Village debuted a miniature recreation of Rogers's house from Mister Rogers' Neighborhood in 2005. Honorary degrees Rogers has received honorary degrees from over 43 colleges and universities. After 1973, two commemorative quilts, created by two of Rogers's friends and archived at the Fred Rogers Center at St. Vincent College in Latrobe, were made out of the academic hoods he received during the graduation ceremonies. Note: Much of the below list is taken from "Honorary Degrees Awarded to Fred Rogers", unless otherwise stated. Thiel College, 1969. Thiel also awards a yearly scholarship named for Rogers. Eastern Michigan University, 1973 Saint Vincent College, 1973 Christian Theological Seminary, 1973 Rollins College, 1974 Yale University, 1974 Chatham College, 1975 Carnegie Mellon University, 1976 Lafayette College, 1977 Waynesburg College, 1978 Linfield College, 1982 Slippery Rock State College, 1982 Duquesne University, 1982 Washington & Jefferson College, 1984 University of South Carolina, 1985 Hobart and William Smith Colleges, 1985 Drury College, 1986 MacMurray College, 1986 Bowling Green State University, 1987 Westminster College (Pennsylvania), 1987 University of Indianapolis, 1988 University of Connecticut, 1991 Boston University, 1992 Indiana University of Pennsylvania, 1992 Moravian College, 1992 Goucher College, 1993 University of Pittsburgh, 1993 West Virginia University, 1995 North Carolina State University, 1996 Edinboro University of Pennsylvania, 1998 Marist College, 1999 Westminster Choir College, 1999 Old Dominion University, 2000 Marquette University, 2001 Middlebury College, 2001 Dartmouth College, 2002 Seton Hill University, 2003 (posthumous) Union College, 2003 (posthumous) Roanoke College, 2003 (posthumous) Filmography Television {\|class="wikitable sortable" \|- ! Year ! Title \|- \| 1954–1961 \| The Children's Corner \|- \| 1963–1966 \| Misterogers \|- \| 1964–1967 \| Butternut Square \|- \| 1968–2001 \| Mister Rogers' Neighborhood \|- \| 1977–1982 \| Christmastime with Mister Rogers \|- \| 1978–1981 \| Old Friends... New Friends \|- \| 1981 \| Sesame Street \|- \| 1988 \| Good Night, Little Ones! \|- \| 1991 \| Where in the World Is Carmen Sandiego? \|- \| 1994 \|Mr. Dressup's 25th Anniversary\|- \| 1994 \| Fred Rogers' Heroes\|- \| 1996 \| Dr. Quinn, Medicine Woman\|- \| 1997 \| Arthur\|- \| 1998 \| Wheel of Fortune\|- \| 2003 \| 114th Annual Tournament of Roses Parade\|} Published works Children's books Our Small World (with Josie Carey, illustrated by Norb Nathanson), 1954, Reed and Witting, The Elves, the Shoemaker, & the Shoemaker's Wife (illustrated by Richard Hefter), 1973, Small World Enterprises, The Matter of the Mittens, 1973, Small World Enterprises, Speedy Delivery (illustrated by Richard Hefter), 1973, Hubbard, Henrietta Meets Someone New (illustrated by Jason Art Studios), 1974, Golden Press, Mister Rogers Talks About, 1974, Platt & Munk, Time to Be Friends, 1974, Hallmark Cards, Everyone is Special (illustrated by Jason Art Studios), 1975, Western Publishing, Tell Me, Mister Rogers, 1975, Platt & Munk, The Costume Party (illustrated by Jason Art Studios), 1976, Golden Press, Planet Purple (illustrated by Dennis Hockerman), 1986, Texas Instruments, If We Were All the Same (illustrated by Pat Sustendal), 1987, Random House, A Trolley Visit to Make-Believe (illustrated by Pat Sustendal), 1987, Random House, Wishes Don't Make Things Come True (illustrated Pat Sustendal), 1987, Random House, No One Can Ever Take Your Place (illustrated by Pat Sustendal), 1988, Random House, When Monsters Seem Real (illustrated by Pat Sustendal), 1988, Random House, You Can Never Go Down the Drain (illustrated by Pat Sustendal), 1988, Random House, The Giving Box (illustrated by Jennifer Herbert), 2000, Running Press, Good Weather or Not (with Hedda Bluestone Sharapan, illustrated by James Mellet), 2005, Family Communications, Josephine the Short Neck-Giraffe, 2006, Family Communications, A Beautiful Day in the Neighborhood: The Poetry of Mister Rogers Neighborhood (illustrated by Luke Flowers), 2009, Quirk Books, First Experiences series illustrated by Jim Judkis Going to Day Care, 1985, Putnam, The New Baby, 1985, Putnam, Going to the Potty, 1986, Putnam, Going to the Doctor, 1986, Putnam, Making Friends, 1987, Putnam, Moving, 1987, Putnam, Going to the Hospital, 1988, Putnam, When a Pet Dies, 1988, Putnam, Going on an Airplane, 1989, Putnam, Going to the Dentist, 1989, Putnam, Let's Talk About It series Going to the Hospital, 1977, Family Communications, Having an Operation, 1977, Family Communications, So Many Things To See!, 1977, Family Communications, Wearing a Cast, 1977, Family Communications, Adoption, 1993, Putnam, Divorce, 1994, Putnam, Extraordinary Friends, 2000, Putnam, Stepfamilies, 2001, Putnam, Songbooks Tomorrow on the Children's Corner (with Josie Carey, illustrated by Mal Wittman), 1960, Vernon Music Corporation, Mister Rogers' Songbook (with Johnny Costa, illustrated by Steven Kellogg), 1970, Random House, Books for adults Mister Rogers Talks to Parents, 1983, Family Communications, Mister Rogers' Playbook (with Barry Head, illustrated by Jamie Adams), 1986, Berkley Books, Mister Rogers Talks with Families About Divorce (with Clare O'Brien), 1987, Berkley Books, Mister Rogers' How Families Grow (with Barry Head and Jim Prokell), 1988, Berkley Books, You Are Special: Words of Wisdom from America's Most Beloved Neighbor, 1994, Penguin Books, Dear Mister Rogers, 1996, Penguin Books, Mister Rogers' Playtime, 2001, Running Press, The Mister Rogers Parenting Book, 2002, Running Press, You are special: Neighborly Wisdom from Mister Rogers, 2002, Running Press, The World According to Mister Rogers, 2003, Hyperion Books, Life's Journeys According to Mister Rogers, 2005, Hyperion Books, The Mister Rogers Parenting Resource Book, 2005, Courage Books, Many Ways to Say I Love You: Wisdom For Parents And Children, 2019, Hachette Books, Discography Around the Children's Corner (with Josey Carey), 1958, Vernon Music Corporation, Tomorrow on the Children's Corner (with Josie Carey), 1959 King Friday XIII Celebrates, 1964 Won't You Be My Neighbor?, 1967 Let's Be Together Today, 1968 Josephine the Short-Neck Giraffe, 1969 You Are Special, 1969 A Place of Our Own, 1970 Come On and Wake Up, 1972 Growing, 1992 Bedtime, 1992 Won't You Be My Neighbor? (cassette and book), 1994, Hal Leonard, Coming and Going, 1997 It's Such A Good Feeling: The Best Of Mister Rogers, 2019, Omnivore Recordings, posthumous release See also Won't You Be My Neighbor?, 2018 documentary Mister Rogers: It's You I Like, 2018 documentary A Beautiful Day in the Neighborhood, 2019 biographical drama film List of vegetarians Notes References Works cited Gross, Terry (1984). "Terry Gross and Fred Rogers". Fresh Air. NPR. King, Maxwell (2018). The Good Neighbor: The Life and Work of Fred Rogers. Abrams Press. . Tiech, John (2012). Pittsburgh Film History: On Set in the Steel City''. Charleston, North Carolina: The History Press. . External links PBS Kids: Official Site The Fred M. Rogers Center The Fred Rogers Company (formerly known as Family Communications) 1984 interview with Fred Rogers. The Music of Mister Rogers—Pittsburgh Music History Fred Rogers at Voice Chasers 1928 births 2003 deaths 20th-century American composers 20th-century American male actors 20th-century American male writers 20th-century American singers 20th-century Presbyterians 21st-century Presbyterians American children's television presenters American male composers American male singers American male songwriters American male television actors American male voice actors American philanthropists American Presbyterian ministers American Presbyterians American puppeteers American television hosts Burials in Pennsylvania Christianity in Pittsburgh Columbia Records artists Dartmouth College alumni Daytime Emmy Award winners Deaths from cancer in Pennsylvania Deaths from stomach cancer Male actors from Pittsburgh Omnivore Recordings artists PBS people Peabody Award winners Pennsylvania Republicans People from Latrobe, Pennsylvania Pittsburgh Theological Seminary alumni Presbyterians from Pennsylvania Presidential Medal of Freedom recipients Rollins College alumni Singers from Pennsylvania Songwriters from Pennsylvania Television personalities from Pittsburgh Television producers from Pennsylvania United Presbyterian Church in the United States of America ministers Vegetarianism activists Writers from Pittsburgh Articles containing video clips	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", "Say Anything may refer to:\n\nFilm and television\n Say Anything..., a 1989 American film by Cameron Crowe\n \"Say Anything\" (BoJack Horseman), a television episode\n\nMusic\n Say Anything (band), an American rock band\n Say Anything (album), a 2009 album by the band\n \"Say Anything\", a 2012 song by Say Anything from Anarchy, My Dear\n \"Say Anything\" (Marianas Trench song), 2006\n \"Say Anything\" (X Japan song), 1991\n \"Say Anything\", a song by Aimee Mann from Whatever, 1993\n \"Say Anything\", a song by the Bouncing Souls from The Bouncing Souls, 1997\n \"Say Anything\", a song by Good Charlotte from The Young and the Hopeless, 2002\n \"Say Anything\", a song by Girl in Red, 2018\n \"Say Anything\", a song by Will Young from Lexicon, 2019\n \"Say Anything (Else)\", a song by Cartel from Chroma, 2005\n\nOther uses\n Say Anything (party game), a 2008 board game published by North Star Games\n \"Say Anything\", a column in YM magazine\n\nSee also\n Say Something (disambiguation)" ]
[ "Fred Rogers", "VCR", "what is fred rogers most known for?", "Rogers was involved in supporting the manufacturers of VCRs in court.", "how did he support them?", "His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs,", "what was the case outcome?", "When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright.", "what is he doing now?", "I don't know.", "anything else interesting?", "Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it" ]	C_f973880c74e14646b417dd7804c9af66_0	what else is rogers known for?	6	What else is Fred Rogers known for besides his participation in the Sony Corp. of America v. Universal City Studios, Inc case?	Fred Rogers	During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER	the Neighborhood	Fred McFeely Rogers (March 20, 1928 – February 27, 2003), also known as Mister Rogers, was an American television host, author, producer, and Presbyterian minister. He was the creator, showrunner, and host of the preschool television series Mister Rogers' Neighborhood, which ran from 1968 to 2001. Born in Latrobe, Pennsylvania, near Pittsburgh, Rogers earned a bachelor's degree in music from Rollins College in 1951. He began his television career at NBC in New York, returning to Pittsburgh in 1953 to work for children's programming at NET (later PBS) television station WQED. He graduated from Pittsburgh Theological Seminary with a bachelor's degree in divinity in 1962 and became a Presbyterian minister in 1963. He attended the University of Pittsburgh's Graduate School of Child Development, where he began his 30-year collaboration with child psychologist Margaret McFarland. He also helped develop the children's shows The Children's Corner (1955) for WQED in Pittsburgh and Misterogers (1963) in Canada for the Canadian Broadcasting Corporation. In 1968, he returned to Pittsburgh and adapted the format of his Canadian series to create Mister Rogers' Neighborhood, which ran for 33 years. The program was critically acclaimed for focusing on children's emotional and physical concerns, such as death, sibling rivalry, school enrollment, and divorce. Rogers died of stomach cancer on February 27, 2003, at age 74. His work in children's television has been widely lauded, and he received more than 40 honorary degrees and several awards, including the Presidential Medal of Freedom in 2002 and a Lifetime Achievement Emmy in 1997. He was inducted into the Television Hall of Fame in 1999. Rogers influenced many writers and producers of children's television shows, and his broadcasts have served as a source of comfort during tragic events, even after his death. Early life Rogers was born on March 20, 1928, in Latrobe, Pennsylvania, about outside of Pittsburgh, at 705 Main Street to James and Nancy Rogers. James was "a very successful businessman" who was president of the McFeely Brick Company, one of Latrobe's largest businesses. Nancy's father, Fred Brooks McFeely, after whom Rogers was named, was an entrepreneur. Nancy knitted sweaters for American soldiers from western Pennsylvania who were fighting in Europe and regularly volunteered at the Latrobe Hospital. Initially, dreaming of becoming a doctor, she settled for a life of hospital volunteer work. Rogers grew up in a three-story brick mansion at 737 Weldon Street in Latrobe. He had a sister, Elaine, whom the Rogerses adopted when he was 11 years old. Rogers spent much of his childhood alone, playing with puppets, and also spent time with his grandfather. He began to play the piano when he was five years old. Through an ancestor who immigrated from Germany to the U.S., Johannes Meffert (born 1732), Rogers is the sixth cousin of American actor Tom Hanks, who portrays him in the film A Beautiful Day in the Neighborhood (2019). Rogers had a difficult childhood. He was shy, introverted, and overweight, and was frequently homebound after suffering bouts of asthma. He was bullied and taunted as a child for his weight, and called "Fat Freddy". According to Morgan Neville, director of the 2018 documentary Won't You Be My Neighbor?, Rogers had a "lonely childhood... I think he made friends with himself as much as he could. He had a ventriloquist dummy, he had [stuffed] animals, and he would create his own worlds in his childhood bedroom". Rogers attended Latrobe High School, where he overcame his shyness. "It was tough for me at the beginning," Rogers told NPR's Terry Gross in 1984. "And then I made a couple friends who found out that the core of me was okay. And one of them was... the head of the football team". Rogers served as president of the student council, was a member of the National Honor Society, and was editor-in-chief of the school yearbook. He registered for the draft in Greensburg, Pennsylvania, in 1948 at age 20, where he was classified as “1-A”, available for military service. However, his status was changed to “4-F”, unfit for military service, following an Armed Forces physical on October 12, 1950. Rogers attended Dartmouth College for one year before transferring to Rollins College in Winter Park, Florida; he graduated magna cum laude in 1951 with a Bachelor of Music. Rogers graduated magna cum laude from Pittsburgh Theological Seminary in 1962 with a Bachelor of Divinity. He was ordained a minister by the Pittsburgh Presbytery of the United Presbyterian Church in 1963. His mission as an ordained minister, instead of being a pastor of a church, was to minister to children and their families through television. He regularly appeared before church officials to keep up his ordination. Career Early work Rogers wanted to enter seminary after college, but instead chose to go into the nascent medium of television after encountering a TV at his parents' home in 1951 during his senior year at Rollins College. In a CNN interview, he said, "I went into television because I hated it so, and I thought there's some way of using this fabulous instrument to nurture those who would watch and listen". After graduating in 1951, he worked at NBC in New York City as floor director of Your Hit Parade, The Kate Smith Hour, and Gabby Hayes's children's show, and as an assistant producer of The Voice of Firestone. In 1953, Rogers returned to Pittsburgh to work as a program developer at public television station WQED. Josie Carey worked with him to develop the children's show The Children's Corner, which Carey hosted. Rogers worked off-camera to develop puppets, characters, and music for the show. He used many of the puppet characters developed during this time, such as Daniel the Striped Tiger (named after WQED's station manager, Dorothy Daniel, who gave Rogers a tiger puppet before the show's premiere), King Friday XIII, Queen Sara Saturday (named after Rogers's wife), X the Owl, Henrietta, and Lady Elaine, in his later work. Children's television entertainer Ernie Coombs was an assistant puppeteer. The Children's Corner won a Sylvania Award for best locally produced children's programming in 1955 and was broadcast nationally on NBC. While working on The Children's Corner, Rogers attended Pittsburgh Theological Seminary, and was ordained as a Presbyterian minister in 1963. He also attended the University of Pittsburgh's Graduate School of Child Development, where he began working with child psychologist Margaret McFarland, who according to Rogers's biographer Maxwell King became his "key advisor and collaborator" and "child-education guru". Much of Rogers's "thinking about and appreciation for children was shaped and informed" by McFarland. She was his consultant for most of Mister Rogers' Neighborhoods scripts and songs for 30 years. In 1963, the Canadian Broadcasting Corporation (CBC) in Toronto contracted Rogers to develop and host the 15-minute black-and-white children's program Misterogers; it lasted from 1963 to 1967. It was the first time Rogers appeared on camera. CBC's children's programming head Fred Rainsberry insisted on it, telling Rogers, "Fred, I've seen you talk with kids. Let's put you yourself on the air". Coombs joined Rogers in Toronto as an assistant puppeteer. Rogers also worked with Coombs on the children's show Butternut Square from 1964 to 1967. He acquired the rights to Misterogers in 1967 and returned to Pittsburgh with his wife, two young sons, and the sets he developed, despite a potentially promising career with CBC and no job prospects in Pittsburgh. On Rogers' recommendation, Coombs remained in Toronto and became Rogers' Canadian equivalent of an iconic television personality, creating the long-running children's program, Mr. Dressup, which ran from 1967 to 1996. Rogers's work for CBC "helped shape and develop the concept and style of his later program for the Public Broadcasting Service (PBS) in the U.S." Mister Rogers' Neighborhood Mister Rogers' Neighborhood (also called the Neighborhood), a half-hour educational children's program starring Rogers, began airing nationally in 1968 and ran for 895 episodes. The program was videotaped at WQED in Pittsburgh and was broadcast by National Educational Television (NET), which later became the Public Broadcasting Service (PBS). Its first season had 180 black-and-white episodes. Each subsequent season, filmed in color and funded by PBS, the Sears-Roebuck Foundation, and other charities, consisted of 65 episodes. By the time the program ended production in December 2000, its average rating was about 0.7 percent of television households, or 680,000 homes, and it aired on 384 PBS stations. At its peak in 1985–1986, its ratings were at 2.1 percent, or 1.8 million homes. Production of the Neighborhood ended in December 2000, and the last original episode aired in 2001, but PBS continued to air reruns; by 2016 it was the third-longest running program in PBS history. Many of the sets and props in Mister Rogers' Neighborhood, like the trolley, the sneakers, and the castle, were created for Rogers's show in Toronto by CBC designers and producers. The program also "incorporated most of the highly imaginative elements that later became famous", such as its slow pace and its host's quiet manner. The format of Mister Rogers' Neighborhood "remained virtually unchanged" for the entire run of the program. Every episode begins with a camera's-eye view of a model of a neighborhood, then panning in closer to a representation of a house while a piano instrumental of the theme song, "Won't You be My Neighbor?", performed by music director Johnny Costa and inspired by a Beethoven sonata, is played. The camera zooms in to a model representing Mr. Rogers's house, then cuts to the house's interior and pans across the room to the front door, which Rogers opens as he sings the theme song to greet his visitors while changing his suit jacket to a cardigan (knitted by his mother) and his dress shoes to sneakers, "complete with a shoe tossed from one hand to another". The episode's theme is introduced, and Mr. Rogers leaves his home to visit another location, the camera panning back to the neighborhood model and zooming in to the new location as he enters it. Once this segment ends, Mr. Rogers leaves and returns to his home, indicating that it is time to visit the Neighborhood of Make-Believe. Mr. Rogers proceeds to the window seat by the trolley track and sets up the action there as the Trolley comes out. The camera follows it down a tunnel in the back wall of the house as it enters the Neighborhood of Make-Believe. The stories and lessons told take place over a series of a week's worth of episodes and involve puppet and human characters. The end of the visit occurs when the Trolley returns to the same tunnel from which it emerged, reappearing in Mr. Rogers's home. He then talks to the viewers before concluding the episode. He often feeds his fish, cleans up any props he has used, and returns to the front room, where he sings the closing song while changing back into his dress shoes and jacket. He exits the front door as he ends the song, and the camera zooms out of his home and pans across the neighborhood model as the episode ends. Mister Rogers' Neighborhood emphasized young children's social and emotional needs, and unlike another PBS show, Sesame Street, which premiered in 1969, did not focus on cognitive learning. Writer Kathy Merlock Jackson said, "While both shows target the same preschool audience and prepare children for kindergarten, Sesame Street concentrates on school-readiness skills while Mister Rogers Neighborhood focuses on the child's developing psyche and feelings and sense of moral and ethical reasoning". The Neighborhood also spent fewer resources on research than Sesame Street, but Rogers used early childhood education concepts taught by his mentor Margaret McFarland, Benjamin Spock, Erik Erikson, and T. Berry Brazelton in his lessons. As the Washington Post noted, Rogers taught young children about civility, tolerance, sharing, and self-worth "in a reassuring tone and leisurely cadence". He tackled difficult topics such as the death of a family pet, sibling rivalry, the addition of a newborn into a family, moving and enrolling in a new school, and divorce. For example, he wrote a special segment that dealt with the assassination of Robert F. Kennedy that aired on June 7, 1968, days after the assassination occurred. According to King, the process of putting each episode of Mister Rogers' Neighborhood together was "painstaking" and Rogers's contribution to the program was "astounding". Rogers wrote and edited all the episodes, played the piano and sang for most of the songs, wrote 200 songs and 13 operas, created all the characters (both puppet and human), played most of the major puppet roles, hosted every episode, and produced and approved every detail of the program. The puppets created for the Neighborhood of Make-Believe "included an extraordinary variety of personalities". They were simple puppets but "complex, complicated, and utterly honest beings". In 1971, Rogers formed Family Communications, Inc. (FCI, now The Fred Rogers Company), to produce the Neighborhood, other programs, and non-broadcast materials. In 1975, Rogers stopped producing Mr. Rogers' Neighborhood to focus on adult programming. Reruns of the Neighborhood continued to air on PBS. King reports that the decision caught many of his coworkers and supporters "off guard". Rogers continued to confer with McFarland about child development and early childhood education, however. In 1979, after an almost five-year hiatus, Rogers returned to producing the Neighborhood; King calls the new version "stronger and more sophisticated than ever". King writes that by the program's second run in the 1980s, it was "such a cultural touchstone that it had inspired numerous parodies", most notably Eddie Murphy's parody on Saturday Night Live in the early 1980s. Rogers retired from producing the Neighborhood in 2001 at age 73, although reruns continued to air. He and FCI had been making about two or three weeks of new programs per year for many years, "filling the rest of his time slots from a library of about 300 shows made since 1979". The final original episode of Mister Rogers' Neighborhood aired on August 31, 2001. Other work and appearances In 1969, Rogers testified before the U.S. Senate Subcommittee on Communications, which was chaired by Democratic Senator John Pastore of Rhode Island. U.S. President Lyndon Johnson had proposed a $20 million bill for the creation of PBS before he left office, but his successor, Richard Nixon, wanted to cut the funding to $10 million. Even though Rogers was not yet nationally known, he was chosen to testify because of his ability to make persuasive arguments and to connect emotionally with his audience. The clip of Rogers's testimony, which was televised and has since been viewed by millions of people on the internet, helped to secure funding for PBS for many years afterwards. According to King, Rogers's testimony was "considered one of the most powerful pieces of testimony ever offered before Congress, and one of the most powerful pieces of video presentation ever filmed". It brought Pastore to tears and also, according to King, has been studied by public relations experts and academics. Congressional funding for PBS increased from $9 million to $22 million. In 1970, Nixon appointed Rogers as chair of the White House Conference on Children and Youth. In 1978, while on hiatus from Mister Rogers' Neighborhood, Rogers wrote, produced, and hosted a 30-minute interview program for adults on PBS called Old Friends... New Friends. It lasted 20 episodes. Rogers's guests included Hoagy Carmichael, Helen Hayes, Milton Berle, Lorin Hollander, poet Robert Frost's daughter Lesley, and Willie Stargell. In September 1987, Rogers visited Moscow to appear as the first guest on the long-running Soviet children's TV show Good Night, Little Ones! with host Tatiana Vedeneyeva. The appearance was broadcast in the Soviet Union on December 7, coinciding with the Washington Summit meeting between Soviet leader Mikhail Gorbachev and U.S. President Ronald Reagan in Washington D.C. Vedeneyeva visited the set of Mister Rogers' Neighborhood in November. Her visit was taped and later aired in March 1988 as part of Rogers's program. In 1994, Rogers wrote, produced, and hosted a special for PBS called Fred Rogers' Heroes, which featured interviews and portraits of four people from across the country who were having a positive impact on children and education. The first time Rogers appeared on television as an actor, and not himself, was in a 1996 episode of Dr. Quinn, Medicine Woman, playing a preacher. Rogers gave "scores of interviews". Though reluctant to appear on television talk shows, he would usually "charm the host with his quick wit and ability to ad-lib on a moment's notice". Rogers was "one of the country's most sought-after commencement speakers", making over 150 speeches. His friend and colleague David Newell reported that Rogers would "agonize over a speech", and King reported that Rogers was at his least guarded during his speeches, which were about children, television, education, his view of the world, how to make the world a better place, and his quest for self-knowledge. His tone was quiet and informal but "commanded attention". In many speeches, including the ones he made accepting a Lifetime Achievement Emmy in 1997, for his induction into the Television Hall of Fame in 1999, and his final commencement speech at Dartmouth College in 2002, he instructed his audiences to remain silent and think for a moment about someone who had a good influence on them. Personal life Rogers met Sara Joanne Byrd (called "Joanne") from Jacksonville, Florida, while attending Rollins College. They were married from 1952 until his death in 2003. They had two sons, James and John. Joanne was "an accomplished pianist", who like Fred earned a Bachelor of Music from Rollins, and went on to earn a Master of Music from Florida State University. She performed publicly with her college classmate, Jeannine Morrison, from 1976 to 2008. According to biographer Maxwell King, Rogers's close associates said he was "absolutely faithful to his marriage vows". Rogers was red-green color-blind. He became a pescatarian in 1970, after the death of his father, and a vegetarian in the early 1980s, saying he "couldn't eat anything that had a mother". He became a co-owner of Vegetarian Times in the mid-1980s and said in one issue, "I love tofu burgers and beets". He told Vegetarian Times that he became a vegetarian for both ethical and health reasons. According to his biographer Maxwell King, Rogers also signed his name to a statement protesting wearing animal furs. Rogers was a registered Republican, but according to Joanne Rogers, he was "very independent in the way he voted", choosing not to talk about politics because he wanted to be impartial. Rogers was a Presbyterian, and many of the messages he expressed in Mister Rogers' Neighborhood were inspired by the core tenets of Christianity. Rogers rarely spoke about his faith on air; he believed that teaching through example was as powerful as preaching. He said, "You don't need to speak overtly about religion in order to get a message across". According to writer Shea Tuttle, Rogers considered his faith a fundamental part of his personality and "called the space between the viewer and the television set 'holy ground'". But despite his strong faith, Rogers struggled with anger, conflict, and self-doubt, especially at the end of his life. He also studied Catholic mysticism, Judaism, Buddhism, and other faiths and cultures. King called him "that unique television star with a real spiritual life", emphasizing the values of patience, reflection, and "silence in a noisy world". King reported that despite Rogers's family's wealth, he cared little about making money, and lived frugally, especially as he and his wife grew older. King reported that Rogers's relationship with his young audience was important to him. For example, since hosting Misterogers in Canada, he answered every letter sent to him by hand. After Mister Rogers' Neighborhood began airing in the U.S., the letters increased in volume and he hired staff member and producer Hedda Sharapan to answer them, but he read, edited, and signed each one. King wrote that Rogers saw responding to his viewers' letters as "a pastoral duty of sorts". The New York Times called Rogers "a dedicated lap-swimmer", and Tom Junod, author of "Can You Say... Hero?", the 1998 Esquire profile of Rogers, said, "Nearly every morning of his life, Mister Rogers has gone swimming". Rogers began swimming when he was a child at his family's vacation home outside Latrobe, where they owned a pool, and during their winter trips to Florida. King wrote that swimming and playing the piano were "lifelong passions" and that "both gave him a chance to feel capable and in charge of his destiny", and that swimming became "an important part of the strong sense of self-discipline he cultivated". Rogers swam daily at the Pittsburgh Athletic Association, after waking every morning between 4:30 and 5:30 A.M. to pray and to "read the Bible and prepare himself for the day". He did not smoke or drink. According to Junod, he did nothing to change his weight from the he weighed for most of his adult life; by 1998, this also included napping daily, going to bed at 9:30 P.M., and sleeping eight hours per night without interruption. Junod said Rogers saw his weight "as a destiny fulfilled", telling Junod, "the number 143 means 'I love you.' It takes one letter to say 'I' and four letters to say 'love' and three letters to say 'you'". Death and memorials After Rogers's retirement in 2001, he remained busy working with FCI, studying religion and spirituality, making public appearances, traveling, and working on a children's media center named after him at Saint Vincent College in Latrobe with Archabbot Douglas Nowicki, chancellor of the college. By the summer of 2002, his chronic stomach pain became severe enough for him to see a doctor about it, and in October 2002, he was diagnosed with stomach cancer. He delayed treatment until after he served as Grand Marshal of the 2003 Rose Parade, with Art Linkletter and Bill Cosby in January. On January 6, Rogers underwent stomach surgery. He died less than two months later, on February 27, 2003, one month before his 75th birthday, at his home in Pittsburgh, with his wife of 50 years, Joanne, at his side. While comatose shortly before his death, he received the last rites of the Catholic Church from Archabbot Nowicki. The following day, the Pittsburgh Post-Gazette covered Rogers's death on the front page and dedicated an entire section to his death and impact. The newspaper also reported that by noon, the internet "was already full of appreciative pieces" by parents, viewers, producers, and writers. Rogers's death was widely lamented. Most U.S. metropolitan newspapers ran his obituary on their front page, and some dedicated entire sections to coverage of his death. WQED aired programs about Rogers the evening he died; the Post-Gazette reported that the ratings for their coverage were three times higher than their normal ratings. That same evening, Nightline on ABC broadcast a rerun of a recent interview with Rogers; the program got the highest ratings of the day, beating the February average ratings of Late Show with David Letterman and The Tonight Show with Jay Leno. On March 4, the U.S. House of Representatives unanimously passed a resolution honoring Rogers sponsored by Representative Mike Doyle from Pennsylvania. On March 1, 2003, a private funeral was held for Rogers in Unity Chapel, which was restored by Rogers's father, at Unity Cemetery in Latrobe. About 80 relatives, co-workers, and close friends attended the service, which "was planned in great secrecy so that those closest to him could grieve in private". Reverend John McCall, pastor of the Rogers family's church, Sixth Presbyterian Church in Squirrel Hill, gave the homily, and Reverend William Barker, a retired Presbyterian minister who was a "close friend of Mr. Rogers and the voice of Mr. Platypus on his show", read Rogers's favorite Bible passages. Rogers was interred at Unity Cemetery in Latrobe, Pennsylvania, in a mausoleum owned by his mother's family. On May 3, 2003, a public memorial was held at Heinz Hall in Pittsburgh. According to the Post-Gazette, 2,700 people attended. Violinist Itzhak Perlman, cellist Yo-Yo Ma (via video), and organist Alan Morrison performed in honor of Rogers. Barker officiated the service; also in attendance were Pittsburgh philanthropist Elsie Hillman, former Good Morning America host David Hartman, The Very Hungry Caterpillar author Eric Carle, and Arthur creator Marc Brown. Businesswoman and philanthropist Teresa Heinz, PBS President Pat Mitchell, and executive director of The Pittsburgh Project Saleem Ghubril gave remarks. Jeff Erlanger, who at age 10 appeared on Mister Rogers' Neighborhood in 1981 to explain his electric wheelchair, also spoke. The memorial was broadcast several times on Pittsburgh television stations and websites throughout the day. Legacy Marc Brown, creator of another PBS children's show, Arthur, considered Rogers both a friend and "a terrific role model for how to use television and the media to be helpful to kids and families". Josh Selig, creator of Wonder Pets, credits Rogers with influencing his use of structure and predictability, and his use of music, opera, and originality. Rogers inspired Angela Santomero, co-creator of the children's television show Blue's Clues, to earn a degree in developmental psychology and go into educational television. She and the other producers of Blue's Clues used many of Rogers's techniques, such as using child developmental and educational research, and having the host speak directly to the camera and transition to a make-believe world. In 2006, three years after Rogers's death and the end of production of Blue's Clues, the Fred Rogers Company contacted Santomero to create a show that would promote Rogers's legacy. In 2012, Daniel Tiger's Neighborhood, with characters from and based upon Mister Rogers' Neighborhood, premiered on PBS. Rogers's style and approach to children's television and early childhood education also "begged to be parodied". Comedian Eddie Murphy parodied Mister Rogers' Neighborhood on Saturday Night Live during the 1980s. Rogers told interviewer David Letterman in 1982 that he believed parodies like Murphy's were done "with kindness in their hearts". Video of Rogers's 1969 testimony in defense of public programming has experienced a resurgence since 2012, going viral at least twice. It first resurfaced after then presidential candidate Mitt Romney suggested cutting funding for PBS. In 2017, video of the testimony again went viral after President Donald Trump proposed defunding several arts-related government programs including PBS and the National Endowment for the Arts. A roadside Pennsylvania Historical Marker dedicated to Rogers to be installed in Latrobe was approved by the Pennsylvania Historical and Museum Commission on March 4, 2014. It was installed on June 11, 2016, with the title "Fred McFeely Rogers (1928–2003)". In 2018, Won't You Be My Neighbor?, director Morgan Neville's documentary about Rogers's life, grossed over $22 million and became the top-grossing biographical documentary ever produced, the highest-grossing documentary in five years, and the 12th largest-grossing documentary ever produced. The 2019 drama film A Beautiful Day in the Neighborhood tells the story of Rogers and his television series, with Tom Hanks portraying Rogers. According to Caitlin Gibson of The Washington Post, Rogers became a source for parenting advice; she called him "a timeless oracle against a backdrop of ever-shifting parenting philosophies and cultural trends". Robert Thompson of Syracuse University noted that Rogers "took American childhood—and I think Americans in general—through some very turbulent and trying times", from the Vietnam War and the assassination of Robert Kennedy in 1968 to the 9/11 attacks in 2001. According to Asia Simone Burns of National Public Radio, in the years following the end of production on Mister Rogers' Neighborhood in 2001, and his death in 2003, Rogers became "a source of comfort, sometimes in the wake of tragedy". Burns has said Rogers's words of comfort "began circulating on social media" following tragedies such as the Sandy Hook Elementary School shooting in 2012, the Manchester Arena bombing in Manchester, England, in 2017, and the Stoneman Douglas High School shooting in Parkland, Florida, in 2018. Awards and honors Museum exhibits Smithsonian Institution permanent collection. In 1984, Rogers donated one of his sweaters to the Smithsonian. Children's Museum of Pittsburgh. Exhibit created by Rogers and FCI in 1998. It attracted hundreds of thousand of visitors over 10 years, and included, from Mister Rogers' Neighborhood, one of his sweaters, a pair of his sneakers, original puppets from the program, and photographs of Rogers. The exhibit traveled to children's museums throughout the country for eight years until it was given to the Louisiana Children's Museum in New Orleans as a permanent exhibit, to help them recover from Hurricane Katrina in 2005. In 2007, the Children's Museum of Pittsburgh created a traveling exhibit based on the factory tours featured in episodes of Mister Rogers' Neighborhood. Heinz History Center permanent collection (2018). In honor of the 50th anniversary of Mister Rogers' Neighborhood and what would have been Rogers's 90th birthday. Louisiana Children's Museum. The museum contains an exhibit of Mister Rogers' Neighborhood, which debuted in 2007. The exhibit was donated by the Children's Museum of Pittsburgh. Fred Rogers Exhibit. The Exhibit displays the life, career and legacy of Rogers and includes photos, artifacts from Mister Rogers' Neighborhood and clips of the program and interviews featuring Rogers. It is located at the Fred Rogers Center. Art pieces There are several pieces of art dedicated to Rogers throughout Pittsburgh, including a 7,000-pound, 11-foot high bronze statue of him in the North Shore neighborhood. In the Oakland neighborhood, his portrait is included in the Martin Luther King Jr. and "Interpretations of Oakland" murals. A statue of a dinosaur titled "Fredasaurus Rex Friday XIII" originally stood in front of the WQED building and as of 2014 stands in front of the building that contains the Fred Rogers Company offices. There is a "Mister Rogers' Neighborhood of Make-Believe" in Idlewild Park and a kiosk of Mister Rogers' Neighborhood artifacts at Pittsburgh International Airport. The Carnegie Science Center's Miniature Railroad and Village debuted a miniature recreation of Rogers's house from Mister Rogers' Neighborhood in 2005. Honorary degrees Rogers has received honorary degrees from over 43 colleges and universities. After 1973, two commemorative quilts, created by two of Rogers's friends and archived at the Fred Rogers Center at St. Vincent College in Latrobe, were made out of the academic hoods he received during the graduation ceremonies. Note: Much of the below list is taken from "Honorary Degrees Awarded to Fred Rogers", unless otherwise stated. Thiel College, 1969. Thiel also awards a yearly scholarship named for Rogers. Eastern Michigan University, 1973 Saint Vincent College, 1973 Christian Theological Seminary, 1973 Rollins College, 1974 Yale University, 1974 Chatham College, 1975 Carnegie Mellon University, 1976 Lafayette College, 1977 Waynesburg College, 1978 Linfield College, 1982 Slippery Rock State College, 1982 Duquesne University, 1982 Washington & Jefferson College, 1984 University of South Carolina, 1985 Hobart and William Smith Colleges, 1985 Drury College, 1986 MacMurray College, 1986 Bowling Green State University, 1987 Westminster College (Pennsylvania), 1987 University of Indianapolis, 1988 University of Connecticut, 1991 Boston University, 1992 Indiana University of Pennsylvania, 1992 Moravian College, 1992 Goucher College, 1993 University of Pittsburgh, 1993 West Virginia University, 1995 North Carolina State University, 1996 Edinboro University of Pennsylvania, 1998 Marist College, 1999 Westminster Choir College, 1999 Old Dominion University, 2000 Marquette University, 2001 Middlebury College, 2001 Dartmouth College, 2002 Seton Hill University, 2003 (posthumous) Union College, 2003 (posthumous) Roanoke College, 2003 (posthumous) Filmography Television {\|class="wikitable sortable" \|- ! Year ! Title \|- \| 1954–1961 \| The Children's Corner \|- \| 1963–1966 \| Misterogers \|- \| 1964–1967 \| Butternut Square \|- \| 1968–2001 \| Mister Rogers' Neighborhood \|- \| 1977–1982 \| Christmastime with Mister Rogers \|- \| 1978–1981 \| Old Friends... New Friends \|- \| 1981 \| Sesame Street \|- \| 1988 \| Good Night, Little Ones! \|- \| 1991 \| Where in the World Is Carmen Sandiego? \|- \| 1994 \|Mr. Dressup's 25th Anniversary\|- \| 1994 \| Fred Rogers' Heroes\|- \| 1996 \| Dr. Quinn, Medicine Woman\|- \| 1997 \| Arthur\|- \| 1998 \| Wheel of Fortune\|- \| 2003 \| 114th Annual Tournament of Roses Parade\|} Published works Children's books Our Small World (with Josie Carey, illustrated by Norb Nathanson), 1954, Reed and Witting, The Elves, the Shoemaker, & the Shoemaker's Wife (illustrated by Richard Hefter), 1973, Small World Enterprises, The Matter of the Mittens, 1973, Small World Enterprises, Speedy Delivery (illustrated by Richard Hefter), 1973, Hubbard, Henrietta Meets Someone New (illustrated by Jason Art Studios), 1974, Golden Press, Mister Rogers Talks About, 1974, Platt & Munk, Time to Be Friends, 1974, Hallmark Cards, Everyone is Special (illustrated by Jason Art Studios), 1975, Western Publishing, Tell Me, Mister Rogers, 1975, Platt & Munk, The Costume Party (illustrated by Jason Art Studios), 1976, Golden Press, Planet Purple (illustrated by Dennis Hockerman), 1986, Texas Instruments, If We Were All the Same (illustrated by Pat Sustendal), 1987, Random House, A Trolley Visit to Make-Believe (illustrated by Pat Sustendal), 1987, Random House, Wishes Don't Make Things Come True (illustrated Pat Sustendal), 1987, Random House, No One Can Ever Take Your Place (illustrated by Pat Sustendal), 1988, Random House, When Monsters Seem Real (illustrated by Pat Sustendal), 1988, Random House, You Can Never Go Down the Drain (illustrated by Pat Sustendal), 1988, Random House, The Giving Box (illustrated by Jennifer Herbert), 2000, Running Press, Good Weather or Not (with Hedda Bluestone Sharapan, illustrated by James Mellet), 2005, Family Communications, Josephine the Short Neck-Giraffe, 2006, Family Communications, A Beautiful Day in the Neighborhood: The Poetry of Mister Rogers Neighborhood (illustrated by Luke Flowers), 2009, Quirk Books, First Experiences series illustrated by Jim Judkis Going to Day Care, 1985, Putnam, The New Baby, 1985, Putnam, Going to the Potty, 1986, Putnam, Going to the Doctor, 1986, Putnam, Making Friends, 1987, Putnam, Moving, 1987, Putnam, Going to the Hospital, 1988, Putnam, When a Pet Dies, 1988, Putnam, Going on an Airplane, 1989, Putnam, Going to the Dentist, 1989, Putnam, Let's Talk About It series Going to the Hospital, 1977, Family Communications, Having an Operation, 1977, Family Communications, So Many Things To See!, 1977, Family Communications, Wearing a Cast, 1977, Family Communications, Adoption, 1993, Putnam, Divorce, 1994, Putnam, Extraordinary Friends, 2000, Putnam, Stepfamilies, 2001, Putnam, Songbooks Tomorrow on the Children's Corner (with Josie Carey, illustrated by Mal Wittman), 1960, Vernon Music Corporation, Mister Rogers' Songbook (with Johnny Costa, illustrated by Steven Kellogg), 1970, Random House, Books for adults Mister Rogers Talks to Parents, 1983, Family Communications, Mister Rogers' Playbook (with Barry Head, illustrated by Jamie Adams), 1986, Berkley Books, Mister Rogers Talks with Families About Divorce (with Clare O'Brien), 1987, Berkley Books, Mister Rogers' How Families Grow (with Barry Head and Jim Prokell), 1988, Berkley Books, You Are Special: Words of Wisdom from America's Most Beloved Neighbor, 1994, Penguin Books, Dear Mister Rogers, 1996, Penguin Books, Mister Rogers' Playtime, 2001, Running Press, The Mister Rogers Parenting Book, 2002, Running Press, You are special: Neighborly Wisdom from Mister Rogers, 2002, Running Press, The World According to Mister Rogers, 2003, Hyperion Books, Life's Journeys According to Mister Rogers, 2005, Hyperion Books, The Mister Rogers Parenting Resource Book, 2005, Courage Books, Many Ways to Say I Love You: Wisdom For Parents And Children, 2019, Hachette Books, Discography Around the Children's Corner (with Josey Carey), 1958, Vernon Music Corporation, Tomorrow on the Children's Corner (with Josie Carey), 1959 King Friday XIII Celebrates, 1964 Won't You Be My Neighbor?, 1967 Let's Be Together Today, 1968 Josephine the Short-Neck Giraffe, 1969 You Are Special, 1969 A Place of Our Own, 1970 Come On and Wake Up, 1972 Growing, 1992 Bedtime, 1992 Won't You Be My Neighbor? (cassette and book), 1994, Hal Leonard, Coming and Going, 1997 It's Such A Good Feeling: The Best Of Mister Rogers, 2019, Omnivore Recordings, posthumous release See also Won't You Be My Neighbor?, 2018 documentary Mister Rogers: It's You I Like, 2018 documentary A Beautiful Day in the Neighborhood, 2019 biographical drama film List of vegetarians Notes References Works cited Gross, Terry (1984). "Terry Gross and Fred Rogers". Fresh Air. NPR. King, Maxwell (2018). The Good Neighbor: The Life and Work of Fred Rogers. Abrams Press. . Tiech, John (2012). Pittsburgh Film History: On Set in the Steel City''. Charleston, North Carolina: The History Press. . External links PBS Kids: Official Site The Fred M. Rogers Center The Fred Rogers Company (formerly known as Family Communications) 1984 interview with Fred Rogers. The Music of Mister Rogers—Pittsburgh Music History Fred Rogers at Voice Chasers 1928 births 2003 deaths 20th-century American composers 20th-century American male actors 20th-century American male writers 20th-century American singers 20th-century Presbyterians 21st-century Presbyterians American children's television presenters American male composers American male singers American male songwriters American male television actors American male voice actors American philanthropists American Presbyterian ministers American Presbyterians American puppeteers American television hosts Burials in Pennsylvania Christianity in Pittsburgh Columbia Records artists Dartmouth College alumni Daytime Emmy Award winners Deaths from cancer in Pennsylvania Deaths from stomach cancer Male actors from Pittsburgh Omnivore Recordings artists PBS people Peabody Award winners Pennsylvania Republicans People from Latrobe, Pennsylvania Pittsburgh Theological Seminary alumni Presbyterians from Pennsylvania Presidential Medal of Freedom recipients Rollins College alumni Singers from Pennsylvania Songwriters from Pennsylvania Television personalities from Pittsburgh Television producers from Pennsylvania United Presbyterian Church in the United States of America ministers Vegetarianism activists Writers from Pittsburgh Articles containing video clips	true	[ "What I Did for Love may refer to:\n\n \"What I Did for Love\" (A Chorus Line), a song from the musical A Chorus Line\n \"What I Did for Love\" (David Guetta song), 2015\n \"What I Did for Love\", a song and single by Kenny Rogers from Love Is Strange 1990", "Rogers Avenue may refer to:\n\nRogers Avenue (Baltimore)\nRogers Avenue (Metro Subway station), named for Rogers Avenue in Baltimore\nRogers Avenue (Brooklyn); a former railway known as the Rogers Avenue Line had its name\nRogers Avenue (Chicago)\nRogers Avenue (Ellicott City, Maryland)\nRogers Avenue (Fort Smith, Arkansas), home of Northside High and Southside High, which is known for the \"Battle of Rogers Avenue\"" ]
[ "Fred Rogers", "VCR", "what is fred rogers most known for?", "Rogers was involved in supporting the manufacturers of VCRs in court.", "how did he support them?", "His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs,", "what was the case outcome?", "When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright.", "what is he doing now?", "I don't know.", "anything else interesting?", "Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it", "what else is rogers known for?", "the Neighborhood" ]	C_f973880c74e14646b417dd7804c9af66_0	is he still alive?	7	Is Fred Rogers still alive?	Fred Rogers	During the controversy surrounding the introduction of the household VCR, Rogers was involved in supporting the manufacturers of VCRs in court. His 1979 testimony, in the case Sony Corp. of America v. Universal City Studios, Inc., noted that he did not object to home recordings of his television programs, for instance, by families in order to watch them together at a later time. This testimony contrasted with the views of others in the television industry who objected to home recordings or believed that devices to facilitate it should be taxed or regulated. When the case reached the Supreme Court in 1983, the majority decision considered the testimony of Rogers when it held that the Betamax video recorder did not infringe copyright. The Court stated that his views were a notable piece of evidence "that many [television] producers are willing to allow private time-shifting to continue" and even quoted his testimony in a footnote: Some public stations, as well as commercial stations, program the Neighborhood at hours when some children cannot use it ... I have always felt that with the advent of all of this new technology that allows people to tape the Neighborhood off-the-air, and I'm speaking for the Neighborhood because that's what I produce, that they then become much more active in the programming of their family's television life. Very frankly, I am opposed to people being programmed by others. My whole approach in broadcasting has always been "You are an important person just the way you are. You can make healthy decisions." Maybe I'm going on too long, but I just feel that anything that allows a person to be more active in the control of his or her life, in a healthy way, is important. CANNOTANSWER	CANNOTANSWER	Fred McFeely Rogers (March 20, 1928 – February 27, 2003), also known as Mister Rogers, was an American television host, author, producer, and Presbyterian minister. He was the creator, showrunner, and host of the preschool television series Mister Rogers' Neighborhood, which ran from 1968 to 2001. Born in Latrobe, Pennsylvania, near Pittsburgh, Rogers earned a bachelor's degree in music from Rollins College in 1951. He began his television career at NBC in New York, returning to Pittsburgh in 1953 to work for children's programming at NET (later PBS) television station WQED. He graduated from Pittsburgh Theological Seminary with a bachelor's degree in divinity in 1962 and became a Presbyterian minister in 1963. He attended the University of Pittsburgh's Graduate School of Child Development, where he began his 30-year collaboration with child psychologist Margaret McFarland. He also helped develop the children's shows The Children's Corner (1955) for WQED in Pittsburgh and Misterogers (1963) in Canada for the Canadian Broadcasting Corporation. In 1968, he returned to Pittsburgh and adapted the format of his Canadian series to create Mister Rogers' Neighborhood, which ran for 33 years. The program was critically acclaimed for focusing on children's emotional and physical concerns, such as death, sibling rivalry, school enrollment, and divorce. Rogers died of stomach cancer on February 27, 2003, at age 74. His work in children's television has been widely lauded, and he received more than 40 honorary degrees and several awards, including the Presidential Medal of Freedom in 2002 and a Lifetime Achievement Emmy in 1997. He was inducted into the Television Hall of Fame in 1999. Rogers influenced many writers and producers of children's television shows, and his broadcasts have served as a source of comfort during tragic events, even after his death. Early life Rogers was born on March 20, 1928, in Latrobe, Pennsylvania, about outside of Pittsburgh, at 705 Main Street to James and Nancy Rogers. James was "a very successful businessman" who was president of the McFeely Brick Company, one of Latrobe's largest businesses. Nancy's father, Fred Brooks McFeely, after whom Rogers was named, was an entrepreneur. Nancy knitted sweaters for American soldiers from western Pennsylvania who were fighting in Europe and regularly volunteered at the Latrobe Hospital. Initially, dreaming of becoming a doctor, she settled for a life of hospital volunteer work. Rogers grew up in a three-story brick mansion at 737 Weldon Street in Latrobe. He had a sister, Elaine, whom the Rogerses adopted when he was 11 years old. Rogers spent much of his childhood alone, playing with puppets, and also spent time with his grandfather. He began to play the piano when he was five years old. Through an ancestor who immigrated from Germany to the U.S., Johannes Meffert (born 1732), Rogers is the sixth cousin of American actor Tom Hanks, who portrays him in the film A Beautiful Day in the Neighborhood (2019). Rogers had a difficult childhood. He was shy, introverted, and overweight, and was frequently homebound after suffering bouts of asthma. He was bullied and taunted as a child for his weight, and called "Fat Freddy". According to Morgan Neville, director of the 2018 documentary Won't You Be My Neighbor?, Rogers had a "lonely childhood... I think he made friends with himself as much as he could. He had a ventriloquist dummy, he had [stuffed] animals, and he would create his own worlds in his childhood bedroom". Rogers attended Latrobe High School, where he overcame his shyness. "It was tough for me at the beginning," Rogers told NPR's Terry Gross in 1984. "And then I made a couple friends who found out that the core of me was okay. And one of them was... the head of the football team". Rogers served as president of the student council, was a member of the National Honor Society, and was editor-in-chief of the school yearbook. He registered for the draft in Greensburg, Pennsylvania, in 1948 at age 20, where he was classified as “1-A”, available for military service. However, his status was changed to “4-F”, unfit for military service, following an Armed Forces physical on October 12, 1950. Rogers attended Dartmouth College for one year before transferring to Rollins College in Winter Park, Florida; he graduated magna cum laude in 1951 with a Bachelor of Music. Rogers graduated magna cum laude from Pittsburgh Theological Seminary in 1962 with a Bachelor of Divinity. He was ordained a minister by the Pittsburgh Presbytery of the United Presbyterian Church in 1963. His mission as an ordained minister, instead of being a pastor of a church, was to minister to children and their families through television. He regularly appeared before church officials to keep up his ordination. Career Early work Rogers wanted to enter seminary after college, but instead chose to go into the nascent medium of television after encountering a TV at his parents' home in 1951 during his senior year at Rollins College. In a CNN interview, he said, "I went into television because I hated it so, and I thought there's some way of using this fabulous instrument to nurture those who would watch and listen". After graduating in 1951, he worked at NBC in New York City as floor director of Your Hit Parade, The Kate Smith Hour, and Gabby Hayes's children's show, and as an assistant producer of The Voice of Firestone. In 1953, Rogers returned to Pittsburgh to work as a program developer at public television station WQED. Josie Carey worked with him to develop the children's show The Children's Corner, which Carey hosted. Rogers worked off-camera to develop puppets, characters, and music for the show. He used many of the puppet characters developed during this time, such as Daniel the Striped Tiger (named after WQED's station manager, Dorothy Daniel, who gave Rogers a tiger puppet before the show's premiere), King Friday XIII, Queen Sara Saturday (named after Rogers's wife), X the Owl, Henrietta, and Lady Elaine, in his later work. Children's television entertainer Ernie Coombs was an assistant puppeteer. The Children's Corner won a Sylvania Award for best locally produced children's programming in 1955 and was broadcast nationally on NBC. While working on The Children's Corner, Rogers attended Pittsburgh Theological Seminary, and was ordained as a Presbyterian minister in 1963. He also attended the University of Pittsburgh's Graduate School of Child Development, where he began working with child psychologist Margaret McFarland, who according to Rogers's biographer Maxwell King became his "key advisor and collaborator" and "child-education guru". Much of Rogers's "thinking about and appreciation for children was shaped and informed" by McFarland. She was his consultant for most of Mister Rogers' Neighborhoods scripts and songs for 30 years. In 1963, the Canadian Broadcasting Corporation (CBC) in Toronto contracted Rogers to develop and host the 15-minute black-and-white children's program Misterogers; it lasted from 1963 to 1967. It was the first time Rogers appeared on camera. CBC's children's programming head Fred Rainsberry insisted on it, telling Rogers, "Fred, I've seen you talk with kids. Let's put you yourself on the air". Coombs joined Rogers in Toronto as an assistant puppeteer. Rogers also worked with Coombs on the children's show Butternut Square from 1964 to 1967. He acquired the rights to Misterogers in 1967 and returned to Pittsburgh with his wife, two young sons, and the sets he developed, despite a potentially promising career with CBC and no job prospects in Pittsburgh. On Rogers' recommendation, Coombs remained in Toronto and became Rogers' Canadian equivalent of an iconic television personality, creating the long-running children's program, Mr. Dressup, which ran from 1967 to 1996. Rogers's work for CBC "helped shape and develop the concept and style of his later program for the Public Broadcasting Service (PBS) in the U.S." Mister Rogers' Neighborhood Mister Rogers' Neighborhood (also called the Neighborhood), a half-hour educational children's program starring Rogers, began airing nationally in 1968 and ran for 895 episodes. The program was videotaped at WQED in Pittsburgh and was broadcast by National Educational Television (NET), which later became the Public Broadcasting Service (PBS). Its first season had 180 black-and-white episodes. Each subsequent season, filmed in color and funded by PBS, the Sears-Roebuck Foundation, and other charities, consisted of 65 episodes. By the time the program ended production in December 2000, its average rating was about 0.7 percent of television households, or 680,000 homes, and it aired on 384 PBS stations. At its peak in 1985–1986, its ratings were at 2.1 percent, or 1.8 million homes. Production of the Neighborhood ended in December 2000, and the last original episode aired in 2001, but PBS continued to air reruns; by 2016 it was the third-longest running program in PBS history. Many of the sets and props in Mister Rogers' Neighborhood, like the trolley, the sneakers, and the castle, were created for Rogers's show in Toronto by CBC designers and producers. The program also "incorporated most of the highly imaginative elements that later became famous", such as its slow pace and its host's quiet manner. The format of Mister Rogers' Neighborhood "remained virtually unchanged" for the entire run of the program. Every episode begins with a camera's-eye view of a model of a neighborhood, then panning in closer to a representation of a house while a piano instrumental of the theme song, "Won't You be My Neighbor?", performed by music director Johnny Costa and inspired by a Beethoven sonata, is played. The camera zooms in to a model representing Mr. Rogers's house, then cuts to the house's interior and pans across the room to the front door, which Rogers opens as he sings the theme song to greet his visitors while changing his suit jacket to a cardigan (knitted by his mother) and his dress shoes to sneakers, "complete with a shoe tossed from one hand to another". The episode's theme is introduced, and Mr. Rogers leaves his home to visit another location, the camera panning back to the neighborhood model and zooming in to the new location as he enters it. Once this segment ends, Mr. Rogers leaves and returns to his home, indicating that it is time to visit the Neighborhood of Make-Believe. Mr. Rogers proceeds to the window seat by the trolley track and sets up the action there as the Trolley comes out. The camera follows it down a tunnel in the back wall of the house as it enters the Neighborhood of Make-Believe. The stories and lessons told take place over a series of a week's worth of episodes and involve puppet and human characters. The end of the visit occurs when the Trolley returns to the same tunnel from which it emerged, reappearing in Mr. Rogers's home. He then talks to the viewers before concluding the episode. He often feeds his fish, cleans up any props he has used, and returns to the front room, where he sings the closing song while changing back into his dress shoes and jacket. He exits the front door as he ends the song, and the camera zooms out of his home and pans across the neighborhood model as the episode ends. Mister Rogers' Neighborhood emphasized young children's social and emotional needs, and unlike another PBS show, Sesame Street, which premiered in 1969, did not focus on cognitive learning. Writer Kathy Merlock Jackson said, "While both shows target the same preschool audience and prepare children for kindergarten, Sesame Street concentrates on school-readiness skills while Mister Rogers Neighborhood focuses on the child's developing psyche and feelings and sense of moral and ethical reasoning". The Neighborhood also spent fewer resources on research than Sesame Street, but Rogers used early childhood education concepts taught by his mentor Margaret McFarland, Benjamin Spock, Erik Erikson, and T. Berry Brazelton in his lessons. As the Washington Post noted, Rogers taught young children about civility, tolerance, sharing, and self-worth "in a reassuring tone and leisurely cadence". He tackled difficult topics such as the death of a family pet, sibling rivalry, the addition of a newborn into a family, moving and enrolling in a new school, and divorce. For example, he wrote a special segment that dealt with the assassination of Robert F. Kennedy that aired on June 7, 1968, days after the assassination occurred. According to King, the process of putting each episode of Mister Rogers' Neighborhood together was "painstaking" and Rogers's contribution to the program was "astounding". Rogers wrote and edited all the episodes, played the piano and sang for most of the songs, wrote 200 songs and 13 operas, created all the characters (both puppet and human), played most of the major puppet roles, hosted every episode, and produced and approved every detail of the program. The puppets created for the Neighborhood of Make-Believe "included an extraordinary variety of personalities". They were simple puppets but "complex, complicated, and utterly honest beings". In 1971, Rogers formed Family Communications, Inc. (FCI, now The Fred Rogers Company), to produce the Neighborhood, other programs, and non-broadcast materials. In 1975, Rogers stopped producing Mr. Rogers' Neighborhood to focus on adult programming. Reruns of the Neighborhood continued to air on PBS. King reports that the decision caught many of his coworkers and supporters "off guard". Rogers continued to confer with McFarland about child development and early childhood education, however. In 1979, after an almost five-year hiatus, Rogers returned to producing the Neighborhood; King calls the new version "stronger and more sophisticated than ever". King writes that by the program's second run in the 1980s, it was "such a cultural touchstone that it had inspired numerous parodies", most notably Eddie Murphy's parody on Saturday Night Live in the early 1980s. Rogers retired from producing the Neighborhood in 2001 at age 73, although reruns continued to air. He and FCI had been making about two or three weeks of new programs per year for many years, "filling the rest of his time slots from a library of about 300 shows made since 1979". The final original episode of Mister Rogers' Neighborhood aired on August 31, 2001. Other work and appearances In 1969, Rogers testified before the U.S. Senate Subcommittee on Communications, which was chaired by Democratic Senator John Pastore of Rhode Island. U.S. President Lyndon Johnson had proposed a $20 million bill for the creation of PBS before he left office, but his successor, Richard Nixon, wanted to cut the funding to $10 million. Even though Rogers was not yet nationally known, he was chosen to testify because of his ability to make persuasive arguments and to connect emotionally with his audience. The clip of Rogers's testimony, which was televised and has since been viewed by millions of people on the internet, helped to secure funding for PBS for many years afterwards. According to King, Rogers's testimony was "considered one of the most powerful pieces of testimony ever offered before Congress, and one of the most powerful pieces of video presentation ever filmed". It brought Pastore to tears and also, according to King, has been studied by public relations experts and academics. Congressional funding for PBS increased from $9 million to $22 million. In 1970, Nixon appointed Rogers as chair of the White House Conference on Children and Youth. In 1978, while on hiatus from Mister Rogers' Neighborhood, Rogers wrote, produced, and hosted a 30-minute interview program for adults on PBS called Old Friends... New Friends. It lasted 20 episodes. Rogers's guests included Hoagy Carmichael, Helen Hayes, Milton Berle, Lorin Hollander, poet Robert Frost's daughter Lesley, and Willie Stargell. In September 1987, Rogers visited Moscow to appear as the first guest on the long-running Soviet children's TV show Good Night, Little Ones! with host Tatiana Vedeneyeva. The appearance was broadcast in the Soviet Union on December 7, coinciding with the Washington Summit meeting between Soviet leader Mikhail Gorbachev and U.S. President Ronald Reagan in Washington D.C. Vedeneyeva visited the set of Mister Rogers' Neighborhood in November. Her visit was taped and later aired in March 1988 as part of Rogers's program. In 1994, Rogers wrote, produced, and hosted a special for PBS called Fred Rogers' Heroes, which featured interviews and portraits of four people from across the country who were having a positive impact on children and education. The first time Rogers appeared on television as an actor, and not himself, was in a 1996 episode of Dr. Quinn, Medicine Woman, playing a preacher. Rogers gave "scores of interviews". Though reluctant to appear on television talk shows, he would usually "charm the host with his quick wit and ability to ad-lib on a moment's notice". Rogers was "one of the country's most sought-after commencement speakers", making over 150 speeches. His friend and colleague David Newell reported that Rogers would "agonize over a speech", and King reported that Rogers was at his least guarded during his speeches, which were about children, television, education, his view of the world, how to make the world a better place, and his quest for self-knowledge. His tone was quiet and informal but "commanded attention". In many speeches, including the ones he made accepting a Lifetime Achievement Emmy in 1997, for his induction into the Television Hall of Fame in 1999, and his final commencement speech at Dartmouth College in 2002, he instructed his audiences to remain silent and think for a moment about someone who had a good influence on them. Personal life Rogers met Sara Joanne Byrd (called "Joanne") from Jacksonville, Florida, while attending Rollins College. They were married from 1952 until his death in 2003. They had two sons, James and John. Joanne was "an accomplished pianist", who like Fred earned a Bachelor of Music from Rollins, and went on to earn a Master of Music from Florida State University. She performed publicly with her college classmate, Jeannine Morrison, from 1976 to 2008. According to biographer Maxwell King, Rogers's close associates said he was "absolutely faithful to his marriage vows". Rogers was red-green color-blind. He became a pescatarian in 1970, after the death of his father, and a vegetarian in the early 1980s, saying he "couldn't eat anything that had a mother". He became a co-owner of Vegetarian Times in the mid-1980s and said in one issue, "I love tofu burgers and beets". He told Vegetarian Times that he became a vegetarian for both ethical and health reasons. According to his biographer Maxwell King, Rogers also signed his name to a statement protesting wearing animal furs. Rogers was a registered Republican, but according to Joanne Rogers, he was "very independent in the way he voted", choosing not to talk about politics because he wanted to be impartial. Rogers was a Presbyterian, and many of the messages he expressed in Mister Rogers' Neighborhood were inspired by the core tenets of Christianity. Rogers rarely spoke about his faith on air; he believed that teaching through example was as powerful as preaching. He said, "You don't need to speak overtly about religion in order to get a message across". According to writer Shea Tuttle, Rogers considered his faith a fundamental part of his personality and "called the space between the viewer and the television set 'holy ground'". But despite his strong faith, Rogers struggled with anger, conflict, and self-doubt, especially at the end of his life. He also studied Catholic mysticism, Judaism, Buddhism, and other faiths and cultures. King called him "that unique television star with a real spiritual life", emphasizing the values of patience, reflection, and "silence in a noisy world". King reported that despite Rogers's family's wealth, he cared little about making money, and lived frugally, especially as he and his wife grew older. King reported that Rogers's relationship with his young audience was important to him. For example, since hosting Misterogers in Canada, he answered every letter sent to him by hand. After Mister Rogers' Neighborhood began airing in the U.S., the letters increased in volume and he hired staff member and producer Hedda Sharapan to answer them, but he read, edited, and signed each one. King wrote that Rogers saw responding to his viewers' letters as "a pastoral duty of sorts". The New York Times called Rogers "a dedicated lap-swimmer", and Tom Junod, author of "Can You Say... Hero?", the 1998 Esquire profile of Rogers, said, "Nearly every morning of his life, Mister Rogers has gone swimming". Rogers began swimming when he was a child at his family's vacation home outside Latrobe, where they owned a pool, and during their winter trips to Florida. King wrote that swimming and playing the piano were "lifelong passions" and that "both gave him a chance to feel capable and in charge of his destiny", and that swimming became "an important part of the strong sense of self-discipline he cultivated". Rogers swam daily at the Pittsburgh Athletic Association, after waking every morning between 4:30 and 5:30 A.M. to pray and to "read the Bible and prepare himself for the day". He did not smoke or drink. According to Junod, he did nothing to change his weight from the he weighed for most of his adult life; by 1998, this also included napping daily, going to bed at 9:30 P.M., and sleeping eight hours per night without interruption. Junod said Rogers saw his weight "as a destiny fulfilled", telling Junod, "the number 143 means 'I love you.' It takes one letter to say 'I' and four letters to say 'love' and three letters to say 'you'". Death and memorials After Rogers's retirement in 2001, he remained busy working with FCI, studying religion and spirituality, making public appearances, traveling, and working on a children's media center named after him at Saint Vincent College in Latrobe with Archabbot Douglas Nowicki, chancellor of the college. By the summer of 2002, his chronic stomach pain became severe enough for him to see a doctor about it, and in October 2002, he was diagnosed with stomach cancer. He delayed treatment until after he served as Grand Marshal of the 2003 Rose Parade, with Art Linkletter and Bill Cosby in January. On January 6, Rogers underwent stomach surgery. He died less than two months later, on February 27, 2003, one month before his 75th birthday, at his home in Pittsburgh, with his wife of 50 years, Joanne, at his side. While comatose shortly before his death, he received the last rites of the Catholic Church from Archabbot Nowicki. The following day, the Pittsburgh Post-Gazette covered Rogers's death on the front page and dedicated an entire section to his death and impact. The newspaper also reported that by noon, the internet "was already full of appreciative pieces" by parents, viewers, producers, and writers. Rogers's death was widely lamented. Most U.S. metropolitan newspapers ran his obituary on their front page, and some dedicated entire sections to coverage of his death. WQED aired programs about Rogers the evening he died; the Post-Gazette reported that the ratings for their coverage were three times higher than their normal ratings. That same evening, Nightline on ABC broadcast a rerun of a recent interview with Rogers; the program got the highest ratings of the day, beating the February average ratings of Late Show with David Letterman and The Tonight Show with Jay Leno. On March 4, the U.S. House of Representatives unanimously passed a resolution honoring Rogers sponsored by Representative Mike Doyle from Pennsylvania. On March 1, 2003, a private funeral was held for Rogers in Unity Chapel, which was restored by Rogers's father, at Unity Cemetery in Latrobe. About 80 relatives, co-workers, and close friends attended the service, which "was planned in great secrecy so that those closest to him could grieve in private". Reverend John McCall, pastor of the Rogers family's church, Sixth Presbyterian Church in Squirrel Hill, gave the homily, and Reverend William Barker, a retired Presbyterian minister who was a "close friend of Mr. Rogers and the voice of Mr. Platypus on his show", read Rogers's favorite Bible passages. Rogers was interred at Unity Cemetery in Latrobe, Pennsylvania, in a mausoleum owned by his mother's family. On May 3, 2003, a public memorial was held at Heinz Hall in Pittsburgh. According to the Post-Gazette, 2,700 people attended. Violinist Itzhak Perlman, cellist Yo-Yo Ma (via video), and organist Alan Morrison performed in honor of Rogers. Barker officiated the service; also in attendance were Pittsburgh philanthropist Elsie Hillman, former Good Morning America host David Hartman, The Very Hungry Caterpillar author Eric Carle, and Arthur creator Marc Brown. Businesswoman and philanthropist Teresa Heinz, PBS President Pat Mitchell, and executive director of The Pittsburgh Project Saleem Ghubril gave remarks. Jeff Erlanger, who at age 10 appeared on Mister Rogers' Neighborhood in 1981 to explain his electric wheelchair, also spoke. The memorial was broadcast several times on Pittsburgh television stations and websites throughout the day. Legacy Marc Brown, creator of another PBS children's show, Arthur, considered Rogers both a friend and "a terrific role model for how to use television and the media to be helpful to kids and families". Josh Selig, creator of Wonder Pets, credits Rogers with influencing his use of structure and predictability, and his use of music, opera, and originality. Rogers inspired Angela Santomero, co-creator of the children's television show Blue's Clues, to earn a degree in developmental psychology and go into educational television. She and the other producers of Blue's Clues used many of Rogers's techniques, such as using child developmental and educational research, and having the host speak directly to the camera and transition to a make-believe world. In 2006, three years after Rogers's death and the end of production of Blue's Clues, the Fred Rogers Company contacted Santomero to create a show that would promote Rogers's legacy. In 2012, Daniel Tiger's Neighborhood, with characters from and based upon Mister Rogers' Neighborhood, premiered on PBS. Rogers's style and approach to children's television and early childhood education also "begged to be parodied". Comedian Eddie Murphy parodied Mister Rogers' Neighborhood on Saturday Night Live during the 1980s. Rogers told interviewer David Letterman in 1982 that he believed parodies like Murphy's were done "with kindness in their hearts". Video of Rogers's 1969 testimony in defense of public programming has experienced a resurgence since 2012, going viral at least twice. It first resurfaced after then presidential candidate Mitt Romney suggested cutting funding for PBS. In 2017, video of the testimony again went viral after President Donald Trump proposed defunding several arts-related government programs including PBS and the National Endowment for the Arts. A roadside Pennsylvania Historical Marker dedicated to Rogers to be installed in Latrobe was approved by the Pennsylvania Historical and Museum Commission on March 4, 2014. It was installed on June 11, 2016, with the title "Fred McFeely Rogers (1928–2003)". In 2018, Won't You Be My Neighbor?, director Morgan Neville's documentary about Rogers's life, grossed over $22 million and became the top-grossing biographical documentary ever produced, the highest-grossing documentary in five years, and the 12th largest-grossing documentary ever produced. The 2019 drama film A Beautiful Day in the Neighborhood tells the story of Rogers and his television series, with Tom Hanks portraying Rogers. According to Caitlin Gibson of The Washington Post, Rogers became a source for parenting advice; she called him "a timeless oracle against a backdrop of ever-shifting parenting philosophies and cultural trends". Robert Thompson of Syracuse University noted that Rogers "took American childhood—and I think Americans in general—through some very turbulent and trying times", from the Vietnam War and the assassination of Robert Kennedy in 1968 to the 9/11 attacks in 2001. According to Asia Simone Burns of National Public Radio, in the years following the end of production on Mister Rogers' Neighborhood in 2001, and his death in 2003, Rogers became "a source of comfort, sometimes in the wake of tragedy". Burns has said Rogers's words of comfort "began circulating on social media" following tragedies such as the Sandy Hook Elementary School shooting in 2012, the Manchester Arena bombing in Manchester, England, in 2017, and the Stoneman Douglas High School shooting in Parkland, Florida, in 2018. Awards and honors Museum exhibits Smithsonian Institution permanent collection. In 1984, Rogers donated one of his sweaters to the Smithsonian. Children's Museum of Pittsburgh. Exhibit created by Rogers and FCI in 1998. It attracted hundreds of thousand of visitors over 10 years, and included, from Mister Rogers' Neighborhood, one of his sweaters, a pair of his sneakers, original puppets from the program, and photographs of Rogers. The exhibit traveled to children's museums throughout the country for eight years until it was given to the Louisiana Children's Museum in New Orleans as a permanent exhibit, to help them recover from Hurricane Katrina in 2005. In 2007, the Children's Museum of Pittsburgh created a traveling exhibit based on the factory tours featured in episodes of Mister Rogers' Neighborhood. Heinz History Center permanent collection (2018). In honor of the 50th anniversary of Mister Rogers' Neighborhood and what would have been Rogers's 90th birthday. Louisiana Children's Museum. The museum contains an exhibit of Mister Rogers' Neighborhood, which debuted in 2007. The exhibit was donated by the Children's Museum of Pittsburgh. Fred Rogers Exhibit. The Exhibit displays the life, career and legacy of Rogers and includes photos, artifacts from Mister Rogers' Neighborhood and clips of the program and interviews featuring Rogers. It is located at the Fred Rogers Center. Art pieces There are several pieces of art dedicated to Rogers throughout Pittsburgh, including a 7,000-pound, 11-foot high bronze statue of him in the North Shore neighborhood. In the Oakland neighborhood, his portrait is included in the Martin Luther King Jr. and "Interpretations of Oakland" murals. A statue of a dinosaur titled "Fredasaurus Rex Friday XIII" originally stood in front of the WQED building and as of 2014 stands in front of the building that contains the Fred Rogers Company offices. There is a "Mister Rogers' Neighborhood of Make-Believe" in Idlewild Park and a kiosk of Mister Rogers' Neighborhood artifacts at Pittsburgh International Airport. The Carnegie Science Center's Miniature Railroad and Village debuted a miniature recreation of Rogers's house from Mister Rogers' Neighborhood in 2005. Honorary degrees Rogers has received honorary degrees from over 43 colleges and universities. After 1973, two commemorative quilts, created by two of Rogers's friends and archived at the Fred Rogers Center at St. Vincent College in Latrobe, were made out of the academic hoods he received during the graduation ceremonies. Note: Much of the below list is taken from "Honorary Degrees Awarded to Fred Rogers", unless otherwise stated. Thiel College, 1969. Thiel also awards a yearly scholarship named for Rogers. Eastern Michigan University, 1973 Saint Vincent College, 1973 Christian Theological Seminary, 1973 Rollins College, 1974 Yale University, 1974 Chatham College, 1975 Carnegie Mellon University, 1976 Lafayette College, 1977 Waynesburg College, 1978 Linfield College, 1982 Slippery Rock State College, 1982 Duquesne University, 1982 Washington & Jefferson College, 1984 University of South Carolina, 1985 Hobart and William Smith Colleges, 1985 Drury College, 1986 MacMurray College, 1986 Bowling Green State University, 1987 Westminster College (Pennsylvania), 1987 University of Indianapolis, 1988 University of Connecticut, 1991 Boston University, 1992 Indiana University of Pennsylvania, 1992 Moravian College, 1992 Goucher College, 1993 University of Pittsburgh, 1993 West Virginia University, 1995 North Carolina State University, 1996 Edinboro University of Pennsylvania, 1998 Marist College, 1999 Westminster Choir College, 1999 Old Dominion University, 2000 Marquette University, 2001 Middlebury College, 2001 Dartmouth College, 2002 Seton Hill University, 2003 (posthumous) Union College, 2003 (posthumous) Roanoke College, 2003 (posthumous) Filmography Television {\|class="wikitable sortable" \|- ! Year ! Title \|- \| 1954–1961 \| The Children's Corner \|- \| 1963–1966 \| Misterogers \|- \| 1964–1967 \| Butternut Square \|- \| 1968–2001 \| Mister Rogers' Neighborhood \|- \| 1977–1982 \| Christmastime with Mister Rogers \|- \| 1978–1981 \| Old Friends... New Friends \|- \| 1981 \| Sesame Street \|- \| 1988 \| Good Night, Little Ones! \|- \| 1991 \| Where in the World Is Carmen Sandiego? \|- \| 1994 \|Mr. Dressup's 25th Anniversary\|- \| 1994 \| Fred Rogers' Heroes\|- \| 1996 \| Dr. Quinn, Medicine Woman\|- \| 1997 \| Arthur\|- \| 1998 \| Wheel of Fortune\|- \| 2003 \| 114th Annual Tournament of Roses Parade\|} Published works Children's books Our Small World (with Josie Carey, illustrated by Norb Nathanson), 1954, Reed and Witting, The Elves, the Shoemaker, & the Shoemaker's Wife (illustrated by Richard Hefter), 1973, Small World Enterprises, The Matter of the Mittens, 1973, Small World Enterprises, Speedy Delivery (illustrated by Richard Hefter), 1973, Hubbard, Henrietta Meets Someone New (illustrated by Jason Art Studios), 1974, Golden Press, Mister Rogers Talks About, 1974, Platt & Munk, Time to Be Friends, 1974, Hallmark Cards, Everyone is Special (illustrated by Jason Art Studios), 1975, Western Publishing, Tell Me, Mister Rogers, 1975, Platt & Munk, The Costume Party (illustrated by Jason Art Studios), 1976, Golden Press, Planet Purple (illustrated by Dennis Hockerman), 1986, Texas Instruments, If We Were All the Same (illustrated by Pat Sustendal), 1987, Random House, A Trolley Visit to Make-Believe (illustrated by Pat Sustendal), 1987, Random House, Wishes Don't Make Things Come True (illustrated Pat Sustendal), 1987, Random House, No One Can Ever Take Your Place (illustrated by Pat Sustendal), 1988, Random House, When Monsters Seem Real (illustrated by Pat Sustendal), 1988, Random House, You Can Never Go Down the Drain (illustrated by Pat Sustendal), 1988, Random House, The Giving Box (illustrated by Jennifer Herbert), 2000, Running Press, Good Weather or Not (with Hedda Bluestone Sharapan, illustrated by James Mellet), 2005, Family Communications, Josephine the Short Neck-Giraffe, 2006, Family Communications, A Beautiful Day in the Neighborhood: The Poetry of Mister Rogers Neighborhood (illustrated by Luke Flowers), 2009, Quirk Books, First Experiences series illustrated by Jim Judkis Going to Day Care, 1985, Putnam, The New Baby, 1985, Putnam, Going to the Potty, 1986, Putnam, Going to the Doctor, 1986, Putnam, Making Friends, 1987, Putnam, Moving, 1987, Putnam, Going to the Hospital, 1988, Putnam, When a Pet Dies, 1988, Putnam, Going on an Airplane, 1989, Putnam, Going to the Dentist, 1989, Putnam, Let's Talk About It series Going to the Hospital, 1977, Family Communications, Having an Operation, 1977, Family Communications, So Many Things To See!, 1977, Family Communications, Wearing a Cast, 1977, Family Communications, Adoption, 1993, Putnam, Divorce, 1994, Putnam, Extraordinary Friends, 2000, Putnam, Stepfamilies, 2001, Putnam, Songbooks Tomorrow on the Children's Corner (with Josie Carey, illustrated by Mal Wittman), 1960, Vernon Music Corporation, Mister Rogers' Songbook (with Johnny Costa, illustrated by Steven Kellogg), 1970, Random House, Books for adults Mister Rogers Talks to Parents, 1983, Family Communications, Mister Rogers' Playbook (with Barry Head, illustrated by Jamie Adams), 1986, Berkley Books, Mister Rogers Talks with Families About Divorce (with Clare O'Brien), 1987, Berkley Books, Mister Rogers' How Families Grow (with Barry Head and Jim Prokell), 1988, Berkley Books, You Are Special: Words of Wisdom from America's Most Beloved Neighbor, 1994, Penguin Books, Dear Mister Rogers, 1996, Penguin Books, Mister Rogers' Playtime, 2001, Running Press, The Mister Rogers Parenting Book, 2002, Running Press, You are special: Neighborly Wisdom from Mister Rogers, 2002, Running Press, The World According to Mister Rogers, 2003, Hyperion Books, Life's Journeys According to Mister Rogers, 2005, Hyperion Books, The Mister Rogers Parenting Resource Book, 2005, Courage Books, Many Ways to Say I Love You: Wisdom For Parents And Children, 2019, Hachette Books, Discography Around the Children's Corner (with Josey Carey), 1958, Vernon Music Corporation, Tomorrow on the Children's Corner (with Josie Carey), 1959 King Friday XIII Celebrates, 1964 Won't You Be My Neighbor?, 1967 Let's Be Together Today, 1968 Josephine the Short-Neck Giraffe, 1969 You Are Special, 1969 A Place of Our Own, 1970 Come On and Wake Up, 1972 Growing, 1992 Bedtime, 1992 Won't You Be My Neighbor? (cassette and book), 1994, Hal Leonard, Coming and Going, 1997 It's Such A Good Feeling: The Best Of Mister Rogers, 2019, Omnivore Recordings, posthumous release See also Won't You Be My Neighbor?, 2018 documentary Mister Rogers: It's You I Like, 2018 documentary A Beautiful Day in the Neighborhood, 2019 biographical drama film List of vegetarians Notes References Works cited Gross, Terry (1984). "Terry Gross and Fred Rogers". Fresh Air. NPR. King, Maxwell (2018). The Good Neighbor: The Life and Work of Fred Rogers. Abrams Press. . Tiech, John (2012). Pittsburgh Film History: On Set in the Steel City''. Charleston, North Carolina: The History Press. . External links PBS Kids: Official Site The Fred M. Rogers Center The Fred Rogers Company (formerly known as Family Communications) 1984 interview with Fred Rogers. The Music of Mister Rogers—Pittsburgh Music History Fred Rogers at Voice Chasers 1928 births 2003 deaths 20th-century American composers 20th-century American male actors 20th-century American male writers 20th-century American singers 20th-century Presbyterians 21st-century Presbyterians American children's television presenters American male composers American male singers American male songwriters American male television actors American male voice actors American philanthropists American Presbyterian ministers American Presbyterians American puppeteers American television hosts Burials in Pennsylvania Christianity in Pittsburgh Columbia Records artists Dartmouth College alumni Daytime Emmy Award winners Deaths from cancer in Pennsylvania Deaths from stomach cancer Male actors from Pittsburgh Omnivore Recordings artists PBS people Peabody Award winners Pennsylvania Republicans People from Latrobe, Pennsylvania Pittsburgh Theological Seminary alumni Presbyterians from Pennsylvania Presidential Medal of Freedom recipients Rollins College alumni Singers from Pennsylvania Songwriters from Pennsylvania Television personalities from Pittsburgh Television producers from Pennsylvania United Presbyterian Church in the United States of America ministers Vegetarianism activists Writers from Pittsburgh Articles containing video clips	false	[ "\"Still Alive\" is the closing credits song from the Portal video game.\n\nStill Alive may also refer to:\n \"Still Alive\", the theme song from the video game Mirror's Edge\n Still Alive – the Remixes, an extended soundtrack for the game\n Still Alive (album), the album by DJ Mayonnaise\n \"Still Alive\", a remix on and repackage of the EP Alive by Big Bang\n Still Alive (book), by Ruth Kluger\n \"Still Alive\", a song by 3 Doors Down from Us and the Night\n \"Seimei/Still Alive\", a single by Japanese rock band B'z", "is the son of the current Aikido Dōshu, Moriteru Ueshiba. In keeping with the iemoto system, he is expected to succeed his father as Dōshu. He is the great-grandson of Morihei Ueshiba, the Aikido founder.\n\nFrom April 2012, Ueshiba is Dojocho of the Aikikai Hombu Dojo, and as such is referred to as Waka-sensei (若先生, \"young master\"). This term was applied to Moriteru Ueshiba when the second Dōshu Kisshomaru Ueshiba was still alive, and to Kisshomaru when the founder was still alive. More than simply a title of respect, it is intended to refer to the successor, who will take on leadership after his father.\n\nPersonal life\nOn March 2, 2008, Mitsuteru Ueshiba married Keiko Kusano.\n\nReferences\n\nExternal links\nPhoto of father and son\nMitsuteru Ueshiba　－　47th All Japan Aikido YouTube\nMitsuteru Ueshiba - Aikijinja Taisai 2010\n\nJapanese aikidoka\nLiving people\n1980 births" ]
[ "John Cage", "Centenary commemoration" ]	C_a0ed1788fd7c4d0da279f5d306cc4a48_0	Are there any other interesting aspects about this article?	1	Are there any other interesting aspects about John Cage other than his centenary commemoration?	John Cage	In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER	A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth,	John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48). His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text decision-making tool, which uses chance operations to suggest answers to questions one may pose, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living". Life 1912–1931: Early years Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times. The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work. Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have the opportunity to hear what other people think," anticipating 4′33″ by more than thirty years. Cage enrolled at Pomona College in Claremont as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist Marcel Duchamp via professor José Pijoan, of writer James Joyce via Don Sample, of philosopher Ananda Coomaraswamy and of Henry Cowell. In 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in the 1991 autobiographical statement: I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left. Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher Lazare Lévy, he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment." 1931–1936: Apprenticeship Cage returned to the United States in 1931. He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as Richard Buhlig (who became his first composition teacher) and arts patron Galka Scheyer. By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter", in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil. Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. He supported himself financially by taking up a job washing walls at a Brooklyn YWCA (World Young Women's Christian Association). Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. Cage studied with Schoenberg in California: first at University of Southern California and then at University of California, Los Angeles, as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being a composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall." Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer. At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935. 1937–1949: Modern dance and Eastern influences The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. In 1938, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer Lou Harrison. According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further. After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong romantic partner and artistic collaborator. Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design (what later became the IIT Institute of Design). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met important artists such as Piet Mondrian, André Breton, Jackson Pollock, and Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art (MoMA), Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband Joseph Campbell. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio. In 1944, he appeared in Maya Deren's At Land, a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read further the works of Coomaraswamy. The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his Music for Piano and his monumental piano cycle Etudes Australes to her. 1950s: Discovering chance After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school." In early 1951, Wolff presented Cage with a copy of the I Ching—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound ... I don't need sound to talk to me. Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51), the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching. Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326 Monroe Street (which he occupied since around 1946), his financial situation in 1951 worsened so much that while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures and performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen and Iannis Xenakis. During this time Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first "happening" (see discussion below) in the United States, later titled Theatre Piece No. 1, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative, a community in Stony Point, New York, where his neighbors included David Tudor, M. C. Richards, Karen Karnes, Stan VanDerBeek, and Sari Dienes. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958). 1960s: Fame Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds. Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, Ben Patterson, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death. 1969–1987: New departures Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press. 1987–1992: Final years and death In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale. In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in the Ramapo Mountains, near Stony Point, New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer Walter Zimmermann and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern. Merce Cunningham died of natural causes in July 2009. Music Early works, rhythmic structure, and new approaches to harmony Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938). Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example), or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously. In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony. Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. Chance A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and I Ching hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau. Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″). Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these: Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? Which of the twelve possible chromatic transpositions am I using? For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand. Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0′00″ (1962; also known as 4′33″ No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on March 3, 2012 at the London Coliseum. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. Improvisation Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance. Visual art, writings, and other activities Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations. From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals. Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103. Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. Cage was also an avid amateur mycologist. He co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz. Reception and influence Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function." An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general: The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power. Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable.{} After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques. Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and Howard Skempton. The Japanese composer Tōru Takemitsu has also cited Cage's influence. Following Cage's death Simon Jeffes, founder of the Penguin Cafe Orchestra, composed a piece entitled CAGE DEAD, using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence. Radiohead undertook a composing and performing collaboration with Cunningham's dance troupe in 2003 because the music-group's leader Thom Yorke considered Cage one of his "all-time art heroes". Centenary commemoration In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the globe such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4′33″. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." Archives The archive of the John Cage Trust is held at Bard College in upstate New York. The John Cage Music Manuscript Collection held by the Music Division of the New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. The John Cage Papers are held in the Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. See also An Anthology of Chance Operations List of compositions by John Cage The Organ2/ASLSP (a.k.a. As Slow as Possible) project, the longest concert ever created. The Revenge of the Dead Indians, a 1993 documentary about Cage by Henning Lohner. Works for prepared piano by John Cage Explanatory notes Citations Sources Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. Kuhn, Laura (ed). 2016. Selected Letters of John Cage. Wesleyan University Press. . Lejeunne, Denis. 2012. The Radical Use of Chance in 20th Century Art, Rodopi Press, Amsterdam. Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. Nicholls, David. 2007. John Cage. University of Illinois Press. Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. , Further reading . 2013. L'infinita durata del non suono. Mimesis Publishing, Milan Arena, Leonardo Vittorio. 2014. Il Tao del non suono, ebook. Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. , Davidović, Dalibor. 2015. Branches, Musicological Annual, 51: 2, 9–25. (On Cage's notion of anarchy) Eldred, Michael. 1995/2006. Heidegger's Hölderlin and John Cage, www.arte-fact.org Eldred, Michael. 2010. The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org Haskins, Rob. 2012. John Cage. Chicago: University of Chicago Press. Every Day is a Good Day – The Visual Art of John Cage. 2010. Hayward Publishing. . Larson, Kay. 2012. Where the Heart Beats – John Cage, Zen Buddhism, and the Inner Life of Artists. Penguin Books USA. Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. Taruskin, Richard. 2005. Oxford History of Western Music. Vol. 5. Oxford: Oxford University Press. "Indeterminacy" pp. 55–101. Zimmerman, Walter. Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver ). External links General information and catalogues A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials. Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961. Guide to the John Cage Mycology Collection John Cage oral histories at Oral History of American Music Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org. Interview with John Cage, June 21, 1987 An interview with John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art. Link collections John Cage Online Photographs of John Cage from the UC Santa Cruz Library's Digital Collections Specific topics "Silence and Change / Five Hanau Silence": Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squatted culture center in Hanau (Germany) in 1991, (English / German). Garten, Joel, "Interview With MoMA Curator David Platzker About the New Exhibition on John Cage", The Huffington Post, February 20, 2014. Listening In Conversation with Morton Feldman, 1966, Part 1, Part 2, Part 3, Part 4, and Part 5 1989 radio interview on the CBC program Brave New Waves. Media John Cage at UbuWeb: historical, sound, film. Indeterminacy, Cage's short stories taken from various publications and accessed in random order. FontanaMixer: computer program by Karlheinz Essl that generates a realtime version of John Cage's "Fontana Mix" (1958) Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco. Notes towards a re-reading of the "Roaratorio" – the work of John Cage and his special relationship to radio at Ràdio Web MACBA The Rest isn't Silence... it doesn't exist! – Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No. 4 in 1951. Fluxradio (podcast) – An exploration of some of the concepts and ideas behind the music and performance practice of Fluxus. John Cage – Journeys in Sound, documentary, Germany, 2012, 60 min., director: Allan Miller & Paul Smaczny, written by Anne-Kathrin Peitz; production: Accentus Music in co-production with Westdeutscher Rundfunk. "Czech Crystal Award" (Best Documentary) at Golden Prague Festival 2012. 1912 births 1992 deaths 20th-century American male musicians 20th-century American male writers 20th-century American composers 20th-century American non-fiction writers 20th-century American philosophers 20th-century American writers 20th-century classical composers 20th-century essayists 20th-century LGBT people 20th-century poets Aesthetics American anarchists American scholars of Buddhism American classical composers American contemporary classical composers American experimental musicians American male classical composers American male essayists American male non-fiction writers American opera composers American Zen Buddhists Ballet composers Bisexual men Bisexual musicians Black Mountain College faculty Buddhist artists Composers for carillon Contemporary classical music performers Converts to Buddhism Cornish College of the Arts faculty Experimental composers Experiments in Art and Technology collaborating artists Fellows of the American Academy of Arts and Sciences Fluxus Kyoto laureates in Arts and Philosophy LGBT artists from the United States LGBT Buddhists LGBT classical composers LGBT musicians from the United States LGBT people from California Male opera composers Mills College faculty Music & Arts artists Music theorists Musicians from Los Angeles People from Stony Point, New York Philosophers of art Philosophers of culture Philosophy of music Pomona College alumni Pupils of Arnold Schoenberg Pupils of Henry Cowell Sub Rosa Records artists Wesleyan University faculty	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" ]
[ "John Cage", "Centenary commemoration", "Are there any other interesting aspects about this article?", "A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth," ]	C_a0ed1788fd7c4d0da279f5d306cc4a48_0	How was the project put forth?	2	How was the 2012 project by Juraj Kojs to celebrate the centenary of John Cage's birth put forth?	John Cage	In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER	It consisted of 13 commissioned works created by composers from around the global	John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48). His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text decision-making tool, which uses chance operations to suggest answers to questions one may pose, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living". Life 1912–1931: Early years Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times. The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work. Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have the opportunity to hear what other people think," anticipating 4′33″ by more than thirty years. Cage enrolled at Pomona College in Claremont as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist Marcel Duchamp via professor José Pijoan, of writer James Joyce via Don Sample, of philosopher Ananda Coomaraswamy and of Henry Cowell. In 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in the 1991 autobiographical statement: I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left. Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher Lazare Lévy, he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment." 1931–1936: Apprenticeship Cage returned to the United States in 1931. He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as Richard Buhlig (who became his first composition teacher) and arts patron Galka Scheyer. By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter", in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil. Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. He supported himself financially by taking up a job washing walls at a Brooklyn YWCA (World Young Women's Christian Association). Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. Cage studied with Schoenberg in California: first at University of Southern California and then at University of California, Los Angeles, as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being a composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall." Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer. At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935. 1937–1949: Modern dance and Eastern influences The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. In 1938, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer Lou Harrison. According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further. After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong romantic partner and artistic collaborator. Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design (what later became the IIT Institute of Design). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met important artists such as Piet Mondrian, André Breton, Jackson Pollock, and Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art (MoMA), Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband Joseph Campbell. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio. In 1944, he appeared in Maya Deren's At Land, a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read further the works of Coomaraswamy. The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his Music for Piano and his monumental piano cycle Etudes Australes to her. 1950s: Discovering chance After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school." In early 1951, Wolff presented Cage with a copy of the I Ching—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound ... I don't need sound to talk to me. Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51), the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching. Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326 Monroe Street (which he occupied since around 1946), his financial situation in 1951 worsened so much that while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures and performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen and Iannis Xenakis. During this time Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first "happening" (see discussion below) in the United States, later titled Theatre Piece No. 1, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative, a community in Stony Point, New York, where his neighbors included David Tudor, M. C. Richards, Karen Karnes, Stan VanDerBeek, and Sari Dienes. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958). 1960s: Fame Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds. Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, Ben Patterson, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death. 1969–1987: New departures Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press. 1987–1992: Final years and death In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale. In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in the Ramapo Mountains, near Stony Point, New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer Walter Zimmermann and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern. Merce Cunningham died of natural causes in July 2009. Music Early works, rhythmic structure, and new approaches to harmony Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938). Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example), or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously. In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony. Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. Chance A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and I Ching hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau. Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″). Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these: Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? Which of the twelve possible chromatic transpositions am I using? For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand. Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0′00″ (1962; also known as 4′33″ No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on March 3, 2012 at the London Coliseum. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. Improvisation Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance. Visual art, writings, and other activities Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations. From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals. Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103. Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. Cage was also an avid amateur mycologist. He co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz. Reception and influence Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function." An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general: The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power. Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable.{} After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques. Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and Howard Skempton. The Japanese composer Tōru Takemitsu has also cited Cage's influence. Following Cage's death Simon Jeffes, founder of the Penguin Cafe Orchestra, composed a piece entitled CAGE DEAD, using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence. Radiohead undertook a composing and performing collaboration with Cunningham's dance troupe in 2003 because the music-group's leader Thom Yorke considered Cage one of his "all-time art heroes". Centenary commemoration In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the globe such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4′33″. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." Archives The archive of the John Cage Trust is held at Bard College in upstate New York. The John Cage Music Manuscript Collection held by the Music Division of the New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. The John Cage Papers are held in the Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. See also An Anthology of Chance Operations List of compositions by John Cage The Organ2/ASLSP (a.k.a. As Slow as Possible) project, the longest concert ever created. The Revenge of the Dead Indians, a 1993 documentary about Cage by Henning Lohner. Works for prepared piano by John Cage Explanatory notes Citations Sources Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. Kuhn, Laura (ed). 2016. Selected Letters of John Cage. Wesleyan University Press. . Lejeunne, Denis. 2012. The Radical Use of Chance in 20th Century Art, Rodopi Press, Amsterdam. Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. Nicholls, David. 2007. John Cage. University of Illinois Press. Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. , Further reading . 2013. L'infinita durata del non suono. Mimesis Publishing, Milan Arena, Leonardo Vittorio. 2014. Il Tao del non suono, ebook. Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. , Davidović, Dalibor. 2015. Branches, Musicological Annual, 51: 2, 9–25. (On Cage's notion of anarchy) Eldred, Michael. 1995/2006. Heidegger's Hölderlin and John Cage, www.arte-fact.org Eldred, Michael. 2010. The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org Haskins, Rob. 2012. John Cage. Chicago: University of Chicago Press. Every Day is a Good Day – The Visual Art of John Cage. 2010. Hayward Publishing. . Larson, Kay. 2012. Where the Heart Beats – John Cage, Zen Buddhism, and the Inner Life of Artists. Penguin Books USA. Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. Taruskin, Richard. 2005. Oxford History of Western Music. Vol. 5. Oxford: Oxford University Press. "Indeterminacy" pp. 55–101. Zimmerman, Walter. Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver ). External links General information and catalogues A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials. Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961. Guide to the John Cage Mycology Collection John Cage oral histories at Oral History of American Music Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org. Interview with John Cage, June 21, 1987 An interview with John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art. Link collections John Cage Online Photographs of John Cage from the UC Santa Cruz Library's Digital Collections Specific topics "Silence and Change / Five Hanau Silence": Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squatted culture center in Hanau (Germany) in 1991, (English / German). Garten, Joel, "Interview With MoMA Curator David Platzker About the New Exhibition on John Cage", The Huffington Post, February 20, 2014. Listening In Conversation with Morton Feldman, 1966, Part 1, Part 2, Part 3, Part 4, and Part 5 1989 radio interview on the CBC program Brave New Waves. Media John Cage at UbuWeb: historical, sound, film. Indeterminacy, Cage's short stories taken from various publications and accessed in random order. FontanaMixer: computer program by Karlheinz Essl that generates a realtime version of John Cage's "Fontana Mix" (1958) Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco. Notes towards a re-reading of the "Roaratorio" – the work of John Cage and his special relationship to radio at Ràdio Web MACBA The Rest isn't Silence... it doesn't exist! – Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No. 4 in 1951. Fluxradio (podcast) – An exploration of some of the concepts and ideas behind the music and performance practice of Fluxus. John Cage – Journeys in Sound, documentary, Germany, 2012, 60 min., director: Allan Miller & Paul Smaczny, written by Anne-Kathrin Peitz; production: Accentus Music in co-production with Westdeutscher Rundfunk. "Czech Crystal Award" (Best Documentary) at Golden Prague Festival 2012. 1912 births 1992 deaths 20th-century American male musicians 20th-century American male writers 20th-century American composers 20th-century American non-fiction writers 20th-century American philosophers 20th-century American writers 20th-century classical composers 20th-century essayists 20th-century LGBT people 20th-century poets Aesthetics American anarchists American scholars of Buddhism American classical composers American contemporary classical composers American experimental musicians American male classical composers American male essayists American male non-fiction writers American opera composers American Zen Buddhists Ballet composers Bisexual men Bisexual musicians Black Mountain College faculty Buddhist artists Composers for carillon Contemporary classical music performers Converts to Buddhism Cornish College of the Arts faculty Experimental composers Experiments in Art and Technology collaborating artists Fellows of the American Academy of Arts and Sciences Fluxus Kyoto laureates in Arts and Philosophy LGBT artists from the United States LGBT Buddhists LGBT classical composers LGBT musicians from the United States LGBT people from California Male opera composers Mills College faculty Music & Arts artists Music theorists Musicians from Los Angeles People from Stony Point, New York Philosophers of art Philosophers of culture Philosophy of music Pomona College alumni Pupils of Arnold Schoenberg Pupils of Henry Cowell Sub Rosa Records artists Wesleyan University faculty	false	[ "The Queensferry Crossing (formerly the Forth Replacement Crossing) is a road bridge in Scotland. It was built alongside the existing Forth Road Bridge and carries the M90 motorway across the Firth of Forth between Edinburgh, at South Queensferry, and Fife, at North Queensferry.\n\nProposals for a second Forth Road crossing, to meet unexpected demand, were first put forward in the 1990s, but no action was taken until structural issues were discovered in the Forth Road Bridge in 2004. In 2006-2007 Transport Scotland carried out a study and in December 2007, took the decision to proceed with a replacement bridge. The following year it was announced that the existing bridge would be retained as a public transport link. The Forth Crossing Act received Royal Assent in January 2011. In April 2011, the Forth Crossing Bridge Constructors Consortium were awarded the contract and construction began in late Summer/Autumn of 2011.\n\nThe Queensferry Crossing is a three-tower cable-stayed bridge, with an overall length of . Around of new connecting roads were built, including new and upgraded junctions at Ferrytoll in Fife, South Queensferry and Junction 1A on the M9.\n\nThe bridge was first due to be completed by December 2016, but this deadline was extended to August 2017 after several delays. It is the third bridge across the Forth at Queensferry, alongside the Forth Road Bridge completed in 1964, and the Forth Rail Bridge completed in 1890. Following a public vote, it was formally named on 26 June 2013 and opened to traffic on 30 August 2017. The official opening was carried out on 4 September 2017 by Queen Elizabeth II, fifty-three years to the day after she opened the adjacent Forth Road Bridge.\n\nBackground\nA crossing route over the Forth had existed at the site since the eleventh century, when the queen of Scotland, Margaret, founded a free ferry to take pilgrims north to St Andrews. The site of the ferry crossing became the location of the Forth Road Bridge, which opened in 1964. Proposals for an additional road crossing at Queensferry were drawn up in the early 1990s, as part of the \"Setting Forth\" consultation document prepared by the Scottish Office. The plans met stiff opposition from environmentalists and from the City of Edinburgh Council on the grounds of increased traffic. Following the Labour victory in the 1997 general election, the proposals were shelved.\n\nThe existing bridge had a planned design life of 120 years, but by the early years of the 21st century the planned theoretical capacity for the bridge was being routinely exceeded. It was designed for up to 11 million vehicles per year, but this had risen steadily to 23 million vehicles in 2006. Between 2003 and 2005, an inspection programme found that the main suspension cables had suffered an estimated 8–10% loss of strength as a result of corrosion. Projections highlighted the likelihood of an accelerating loss of strength, with traffic restrictions to limit loading required in 2014 in the worst-case scenario. In 2006-2007 Transport Scotland carried out a study to examine the options and in December 2007, the decision was made to proceed with a replacement bridge.\n\nThe strategic transport importance of the road bridge, and the threat of closure by 2019 if major structural work was not successful, led to fears of serious economic consequences, especially as work on a new crossing was estimated to take up to 11 years. Scottish Transport Minister Nicol Stephen commissioned a new study, which priced a second Forth Road Bridge at £300 million, in 2003. The Forth Estuary Transport Authority voiced support for a new bridge in 2005, and in 2006 the UK Transport Secretary, Alistair Darling, spoke in favour of the idea.\n\nPlanning\nIn 2007, the Forth Replacement Crossing Study was commissioned by Transport Scotland to examine various options for new bridges or tunnels across the Forth. The report recommended adoption of a cable-stayed bridge, located to the west of the Forth Road Bridge, as the preferred solution. The study concluded that this option was significantly cheaper than a tunnel, would take less time to construct, and would represent better value for money, though it was noted that a tunnel would have fewer environmental impacts. In December 2007 finance secretary John Swinney announced that a new cable-stayed bridge would be constructed, with an estimated cost of between £3.25 billion and £4.22 billion. He claimed it would be \"the largest construction project in a generation in Scotland\".\n\nThere was opposition to the project on environmental, traffic and cost grounds. The ForthRight Alliance, an umbrella group including Friends of the Earth, the Scottish Green Party, the RSPB, sustainable transport groups and other local organisations, opposed the scheme as being \"both unwelcome and unnecessary\". Another group, Forth Tunnel Action Group, campaigned for a tunnel as the solution with lowest costs and fewest long-term environmental impacts.\n\nIt was initially suggested that the new bridge would be funded via the Scottish Futures Trust, an alternative to public-private partnership funding for major public-sector schemes. However, the Scottish Government announced in December 2008 that public funding would be used. As part of the Scottish Government's Strategic Transport Projects Review, the new Forth crossing was priced at between £1.72 billion and £2.34 billion. Under the revised scheme, the existing bridge will be retained for public transport, cyclists and pedestrians, and the new bridge was to be operational by 2016.\n\nA joint venture between consultancies Arup and Jacobs was appointed as project manager, and in February 2008 environmental and technical studies were begun, continuing through 2009. Public consultations were held, and some changes to the scheme were made in response to the comments received. An environmental statement was published in November 2009, coinciding with the introduction of the Forth Crossing Bill into the Scottish Parliament by John Swinney. A majority of MSPs voted in favour of the new legislation on 16 December 2010, and the Forth Crossing Act received Royal Assent in January 2011.\n\nBidding process\nIn 2009, Transport Scotland solicited for tenders to construct the proposed bridge. Although Transport Scotland received 39 expressions of interest, concerns over the risks associated with the fixed-price contract resulted in only two consortia of large construction companies bidding. Due to the bidders' concerns that the bidding process itself would prove to be an expensive proposition, the Scottish Government allocated £10 million to defray the bidders' costs during the full bidding process, should the project be abandoned.\n\nThe two consortia were Forthspan, which included Morgan Sindall, BAM Nuttall and Balfour Beatty; and Forth Crossing Bridge Constructors (FCBC), which consists of Dragados, Hochtief, American Bridge, and Morrison Construction. Bids for the main contract, priced at between £900 million and £1.2 billion, and including design and construction of the bridge and approach roads, were submitted in January 2011. In March 2011 the Scottish Government announced FCBC as preferred bidder, with a bid of £790 million. Ramboll is leading the Design Joint Venture which includes Sweco and Leonhardt Andra and Partners.\n\nIn addition to the main contract, two smaller contracts form part of the scheme. The contract to implement the Intelligent Transport System (ITS) traffic management system in Fife was awarded to John Graham (Dromore) Ltd, with a tender of £12.9 million, while the upgrade of M9 Junction 1a was awarded to a joint venture between John Sisk and Roadbridge, with a tender of £25.6 million. As with the main contract, the tenders received were below the original estimated budgets. Naeem Hussain, Global Bridge Design Practice Leader at Arup, was the lead design engineer for the project.\n\nConstruction\n\nPreparatory works for the new bridge began in September 2011 with works beginning at the southern end of the M90 to build the northern approach roads. 149 segments of bridge deck, each of which is long and wide, were constructed in China and Spain, then delivered by sea in October 2013. The approach steel bridge sections were manufactured by Cleveland Bridge UK in Darlington.\n\nThe towers reached in height in August 2015, making it the UK's tallest bridge. The completed towers stand at .\n\nOn 28 April 2016, one construction worker was killed and another injured in an accident involving a crane. Work on the bridge was halted to allow an investigation to take place.\n\nThe bridge was due to be completed by December 2016, but that date was put back to May 2017 due to weather delays slowing construction, with 25 days lost due to high winds during April and May 2016. An additional delay was announced in March 2017 again due to weather (more specifically, high winds) and an estimation period of six weeks in July / August 2017 was proposed.\n\nThe bridge opened on 30 August 2017 and \nformally opened by the Queen on 4 September 2017.\n\nThe bridge\n\nThe bridge is a cable-stayed structure, with three towers each high. Including approaches, the overall length of the bridge is ; at opening, it is the longest triple tower cable-stayed bridge in the world. The bridge carries motorcycles, cars and heavy goods vehicles, while public transport, cyclists and pedestrians use the Forth Road Bridge. Wind shielding has been built into the design, to enable use of the bridge in high winds, which regularly led to restrictions on the existing bridge. The bridge was closed for the first time on 11 February 2020, 30 months after opening, due to accumulations of ice on the towers. Some of the ice then fell onto the carriageway, which caused damage to eight vehicles and prompted the closure.\n\nThe bridge is the third crossing of the Forth at Queensferry, alongside the Forth Road Bridge, completed in 1964, and the Forth Bridge, a railway bridge completed in 1890. It is sited west of the road bridge, with the northern landfall at St Margaret's Hope, between Rosyth Dockyard and North Queensferry and the southern landfall just west of Port Edgar in South Queensferry. The central tower was constructed on the Beamer Rock, a small islet in the Forth.\n\nThe project was known as the Forth Replacement Crossing, and a name for the new bridge was selected in a public vote in 2013 after a panel of independent advisers provided a shortlist of possible names. Five names were shortlisted: Caledonia Bridge, Firth of Forth Crossing, Queensferry Crossing, Saltire Crossing and St Margaret's Crossing. A public vote was held up until 7 June 2013 and the name Queensferry Crossing received the most votes: 12,039 out of 37,000 (32%).\n\nConnecting roads\nSeveral new and upgraded roads connect the bridge into the existing road network with around of new roads constructed. These new roads join the M9 and M90 motorways together for the first time, with the Queensferry Crossing being built to motorway standard in order to carry the M90 across the Forth. The M90 motorway previously terminated at Admiralty Junction, around north of the current Forth Road Bridge, with the road continuing as all-purpose dual carriageway across the existing bridge and joining the M9 via the M9 Spur.\n\nAdmiralty Junction\n\nAdmiralty Junction, previously Junction 1 of the M90 motorway remains unaltered, with the exception of a bus lane added on the southbound carriageway. The junction was renumbered to Junction 1C of the M90 when the Queensferry Crossing opened.\n\nFerrytoll Junction\n\nFerrytoll Junction was redesigned to give access to the new crossing and to maintain public transport access to the Forth Road Bridge. The design of the new junction required the realignment of the B981 road to North Queensferry. Ferrytoll Junction was numbered Junction 1B of the M90 following completion of the Queensferry Crossing.\n\nSouth Queensferry Junction\nThe M90 was extended west from the existing bridge access at Ferry Muir, wrapping around South Queensferry to the southern landfall of the new crossing. A grade-separated junction was built on the A904 just west of Echline, at the south-west edge. The existing access from the Forth Road Bridge to the A90 remains open to public transport. South Queensferry Junction became Junction 1A of the M90 when the Queensferry Crossing opened.\n\nM9 Junction 1a\nJunction 1a provides access from the M9 to the Forth Road Bridge and Queensferry Crossing via the M9 Spur, which was renumbered as M90 upon completion of the Queensferry Crossing. Originally, only east-facing connections were provided to the M9, forcing traffic heading west from the bridge onto the A904 through the village of Newton in West Lothian. The upgrade of the junction included new west-facing slip roads, enabling direct access onto the M9 from the Forth Road Bridge and the new crossing, as well as the widening of the existing connections to assist the flow of traffic at peak times. The improvements were completed in February 2013 at a cost of £25.6m. The junction connecting the A90 / M90 at the southern end of the bridges with the A90 towards Edinburgh city centre and the M90 extension is named the Scotstoun Junction and is numbered as Junction 1 of the M90.\n\nIntelligent Transport System\nAn \"Intelligent transportation system\" (ITS) was installed between Halbeath on the M90, and the M9, covering the whole scheme. The ITS is an active traffic management, enabling variable speed restrictions and lane closures to be displayed on overhead gantries.\n\nArchaeological finds\n\nDuring routine archaeological excavations by Headland Archaeology in advance of work on the new bridge archaeological deposits from the Mesolithic were found on both sides of the Forth.\n\nOn the northern side two post built structures and their surrounding pits and were dated to the mid to late Mesolithic period.\n\nOn the south bank in a field at Echline the remnants of a sunken floor structure with in situ floor deposits was found. The structure, based around an oval pit approximately 7 metres (23 ft) in length, contained the remains of a hearth, stone tools, and bone from a variety of animals. Radio-carbon analysis returned a date of c.8300, approximately 1000 years older than the northern site, making it the earliest known dwelling in Scotland. Additionally three isolated Neolithic pits and a Bronze Age pit group and pit alignment were identified.\n\nSee also\nBridges in Scotland\nList of tallest buildings and structures in Edinburgh\n\nReferences\n\nExternal links\n\nQueensferry Crossing in the Gazetteer for Scotland\nForth Replacement Crossing, Transport Scotland\nFinancial Scrutiny Unit Briefing: The Forth Replacement Crossing First Principles, Scottish Parliament Information Centre (SPICe) Briefing\nNew Forth Bridge construction blog\nRamboll's project description, Ramboll's project description of Queensferry Crossing\n http://www.raeng.org.uk/news/news-releases/2012/June/visionary-bridge-designer-naeem-hussain\n\nMotorway bridges in Scotland\nCable-stayed bridges in Scotland\nBridges in Fife\nBridges in Edinburgh\nFirth of Forth\nSouth Queensferry\nBridges completed in 2017\n2017 establishments in Scotland", "In the economy of the Soviet Union and other communist states of the Soviet Bloc, the counterplan () was a plan put forth by workers of an enterprise (or its structural unit) to exceed the expectations of the state plan allocated for the enterprise/unit. It was an important part of the socialist competition.\n\nAccording to the Great Soviet Encyclopedia, the idea of the counterplan was put forth by the workers of the Karl Marx Plant, Leningrad, in June 1930, during the first five-year plan.\n\nSince the 1960s, counterplans, in the form of obligations as part of Socialist emulation, to execute state plans (annual, quarterly, monthly) ahead of schedule were common in the Soviet Union and other communist states.\n\nReferences\n\nEconomy of the Soviet Union\nSoviet phraseology\nPlanning" ]
[ "John Cage", "Centenary commemoration", "Are there any other interesting aspects about this article?", "A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth,", "How was the project put forth?", "It consisted of 13 commissioned works created by composers from around the global" ]	C_a0ed1788fd7c4d0da279f5d306cc4a48_0	Who were some of the contributors?	3	Who were some of the contributors to the centenary of John Cage's birth?	John Cage	In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER	The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.	John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48). His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text decision-making tool, which uses chance operations to suggest answers to questions one may pose, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living". Life 1912–1931: Early years Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times. The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work. Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have the opportunity to hear what other people think," anticipating 4′33″ by more than thirty years. Cage enrolled at Pomona College in Claremont as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist Marcel Duchamp via professor José Pijoan, of writer James Joyce via Don Sample, of philosopher Ananda Coomaraswamy and of Henry Cowell. In 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in the 1991 autobiographical statement: I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left. Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher Lazare Lévy, he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment." 1931–1936: Apprenticeship Cage returned to the United States in 1931. He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as Richard Buhlig (who became his first composition teacher) and arts patron Galka Scheyer. By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter", in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil. Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. He supported himself financially by taking up a job washing walls at a Brooklyn YWCA (World Young Women's Christian Association). Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. Cage studied with Schoenberg in California: first at University of Southern California and then at University of California, Los Angeles, as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being a composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall." Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer. At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935. 1937–1949: Modern dance and Eastern influences The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. In 1938, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer Lou Harrison. According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further. After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong romantic partner and artistic collaborator. Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design (what later became the IIT Institute of Design). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met important artists such as Piet Mondrian, André Breton, Jackson Pollock, and Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art (MoMA), Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband Joseph Campbell. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio. In 1944, he appeared in Maya Deren's At Land, a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read further the works of Coomaraswamy. The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his Music for Piano and his monumental piano cycle Etudes Australes to her. 1950s: Discovering chance After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school." In early 1951, Wolff presented Cage with a copy of the I Ching—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound ... I don't need sound to talk to me. Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51), the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching. Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326 Monroe Street (which he occupied since around 1946), his financial situation in 1951 worsened so much that while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures and performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen and Iannis Xenakis. During this time Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first "happening" (see discussion below) in the United States, later titled Theatre Piece No. 1, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative, a community in Stony Point, New York, where his neighbors included David Tudor, M. C. Richards, Karen Karnes, Stan VanDerBeek, and Sari Dienes. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958). 1960s: Fame Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds. Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, Ben Patterson, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death. 1969–1987: New departures Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press. 1987–1992: Final years and death In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale. In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in the Ramapo Mountains, near Stony Point, New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer Walter Zimmermann and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern. Merce Cunningham died of natural causes in July 2009. Music Early works, rhythmic structure, and new approaches to harmony Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938). Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example), or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously. In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony. Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. Chance A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and I Ching hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau. Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″). Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these: Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? Which of the twelve possible chromatic transpositions am I using? For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand. Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0′00″ (1962; also known as 4′33″ No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on March 3, 2012 at the London Coliseum. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. Improvisation Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance. Visual art, writings, and other activities Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations. From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals. Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103. Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. Cage was also an avid amateur mycologist. He co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz. Reception and influence Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function." An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general: The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power. Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable.{} After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques. Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and Howard Skempton. The Japanese composer Tōru Takemitsu has also cited Cage's influence. Following Cage's death Simon Jeffes, founder of the Penguin Cafe Orchestra, composed a piece entitled CAGE DEAD, using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence. Radiohead undertook a composing and performing collaboration with Cunningham's dance troupe in 2003 because the music-group's leader Thom Yorke considered Cage one of his "all-time art heroes". Centenary commemoration In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the globe such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4′33″. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." Archives The archive of the John Cage Trust is held at Bard College in upstate New York. The John Cage Music Manuscript Collection held by the Music Division of the New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. The John Cage Papers are held in the Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. See also An Anthology of Chance Operations List of compositions by John Cage The Organ2/ASLSP (a.k.a. As Slow as Possible) project, the longest concert ever created. The Revenge of the Dead Indians, a 1993 documentary about Cage by Henning Lohner. Works for prepared piano by John Cage Explanatory notes Citations Sources Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. Kuhn, Laura (ed). 2016. Selected Letters of John Cage. Wesleyan University Press. . Lejeunne, Denis. 2012. The Radical Use of Chance in 20th Century Art, Rodopi Press, Amsterdam. Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. Nicholls, David. 2007. John Cage. University of Illinois Press. Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. , Further reading . 2013. L'infinita durata del non suono. Mimesis Publishing, Milan Arena, Leonardo Vittorio. 2014. Il Tao del non suono, ebook. Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. , Davidović, Dalibor. 2015. Branches, Musicological Annual, 51: 2, 9–25. (On Cage's notion of anarchy) Eldred, Michael. 1995/2006. Heidegger's Hölderlin and John Cage, www.arte-fact.org Eldred, Michael. 2010. The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org Haskins, Rob. 2012. John Cage. Chicago: University of Chicago Press. Every Day is a Good Day – The Visual Art of John Cage. 2010. Hayward Publishing. . Larson, Kay. 2012. Where the Heart Beats – John Cage, Zen Buddhism, and the Inner Life of Artists. Penguin Books USA. Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. Taruskin, Richard. 2005. Oxford History of Western Music. Vol. 5. Oxford: Oxford University Press. "Indeterminacy" pp. 55–101. Zimmerman, Walter. Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver ). External links General information and catalogues A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials. Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961. Guide to the John Cage Mycology Collection John Cage oral histories at Oral History of American Music Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org. Interview with John Cage, June 21, 1987 An interview with John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art. Link collections John Cage Online Photographs of John Cage from the UC Santa Cruz Library's Digital Collections Specific topics "Silence and Change / Five Hanau Silence": Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squatted culture center in Hanau (Germany) in 1991, (English / German). Garten, Joel, "Interview With MoMA Curator David Platzker About the New Exhibition on John Cage", The Huffington Post, February 20, 2014. Listening In Conversation with Morton Feldman, 1966, Part 1, Part 2, Part 3, Part 4, and Part 5 1989 radio interview on the CBC program Brave New Waves. Media John Cage at UbuWeb: historical, sound, film. Indeterminacy, Cage's short stories taken from various publications and accessed in random order. FontanaMixer: computer program by Karlheinz Essl that generates a realtime version of John Cage's "Fontana Mix" (1958) Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco. Notes towards a re-reading of the "Roaratorio" – the work of John Cage and his special relationship to radio at Ràdio Web MACBA The Rest isn't Silence... it doesn't exist! – Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No. 4 in 1951. Fluxradio (podcast) – An exploration of some of the concepts and ideas behind the music and performance practice of Fluxus. John Cage – Journeys in Sound, documentary, Germany, 2012, 60 min., director: Allan Miller & Paul Smaczny, written by Anne-Kathrin Peitz; production: Accentus Music in co-production with Westdeutscher Rundfunk. "Czech Crystal Award" (Best Documentary) at Golden Prague Festival 2012. 1912 births 1992 deaths 20th-century American male musicians 20th-century American male writers 20th-century American composers 20th-century American non-fiction writers 20th-century American philosophers 20th-century American writers 20th-century classical composers 20th-century essayists 20th-century LGBT people 20th-century poets Aesthetics American anarchists American scholars of Buddhism American classical composers American contemporary classical composers American experimental musicians American male classical composers American male essayists American male non-fiction writers American opera composers American Zen Buddhists Ballet composers Bisexual men Bisexual musicians Black Mountain College faculty Buddhist artists Composers for carillon Contemporary classical music performers Converts to Buddhism Cornish College of the Arts faculty Experimental composers Experiments in Art and Technology collaborating artists Fellows of the American Academy of Arts and Sciences Fluxus Kyoto laureates in Arts and Philosophy LGBT artists from the United States LGBT Buddhists LGBT classical composers LGBT musicians from the United States LGBT people from California Male opera composers Mills College faculty Music & Arts artists Music theorists Musicians from Los Angeles People from Stony Point, New York Philosophers of art Philosophers of culture Philosophy of music Pomona College alumni Pupils of Arnold Schoenberg Pupils of Henry Cowell Sub Rosa Records artists Wesleyan University faculty	true	[ "There were about 100 contributors to Rees's Cyclopædia, most of whom were Nonconformists. They were specialists in their fields, covering science, technology, medicine, manufacturing, agriculture, banking and transportation, as well as the arts and humanities. A number were members of the teaching staffs of the Royal Military Academy, and the Addiscombe Military Seminary of the East India Company. Other contributors were working journalists who wrote for scientific, medical and technical periodicals of the time. Several of the contributors were active in radical politics; one was gaoled for sedition and another indicted for treason.\n\nAmongst the eminent writers engaged by Rees were Dr Charles Burney (1726–1814) who wrote on music and musical biography; Dr Lant Carpenter (1780–1870) on education, mental and moral philosophy; Tiberius Cavallo (1799–1809) on electricity and magnetism; John Farey, sr. (1766–1826), on canals, geology, music and surveying; John Farey, jr. (1791–1851) on machinery, manufactures, steam engine, and water. He also contributed a great number of the illustrations; John Flaxman (1755–1826) on sculpture; Luke Howard (1772–1867) on meteorology; John Landseer (1769–1852) on engraving; Sir William Lawrence, (1783–1867) on human and comparative anatomy; Sir James Edward Smith (1759–1828) on botany; David Mushet on metallurgy and chemistry; Rev. William Pearson (1767–1847) on astronomy; Sir Thomas Phillips (1770–1875) on painting.\n\nAmong the artists and engravers employed were Aaron Arrowsmith (1750–1823) who engraved the maps; William Blake (1757–1827) who made engravings to illustrate some of the sculpture articles; Thomas Milton (1743–1827) who engraved most of the natural history plates; Wilson Lowry (1762–1824) who engraved numerous of the plates especially those relating to architecture, machinery and scientific instruments.\n\nWith the exception of the botanical articles by Sir James Edward Smith, none of the articles are signed. Names were recorded in the Prospectus of 1802, the introduction at the start of the first volume, the paper covers of the unbound parts which have survived, and in a paper in the Philosophical Magazine, published in 1820. The following alphabetical list has been compiled from the foregoing sources. The majority appear in the Dictionary of National Biography, and in sources listed in the British Biographical Index, but these accounts rarely record an involvement with the Cyclopædia.\n\nList of contributors\n\nList of contributors by topic\nThe previous list has been sorted into subject areas. It allows contributors of many single articles, usually of monograph length, to be identified. However a number of subjects, such as architecture and chemistry, have multiple contributors, so individual attributions are not possible.\n\nThe following are noted as contributors of unidentified topics:\nAbraham Rees, Charles Rochmont Aikin, Edward Coleman, Henry Ellis, Henry Howard, Jeremiah Joyce, John Clennel,\tSir Astley Cooper, W. Crowe, (?Thomas) Clarkson, Richard Pearson, Thomas Rees, W. Symonds, and William Thomas.\n\nList of artists\nArtists not listed as contributors:\n\nList of engravers\nEngravers not listed as contributors:\n\nPseudonymous and unknown contributors\nPseudonymous and unknown contributors are very few. Contributor Richard Watson Dickson published a book about gardening in 1807 under the name of Alexander MacDonald. At about this time there seems to have been a genre established of books on practical topics for craftsmen, containing information taken from the various encyclopædias being published then and written by journalists. One such was \"Thomas Martin\", The Circle of the Mechanical Arts. Another was \"John Nicholson\", The Operative Mechanic, 1825. Both the writers were described as civil engineers, yet are quite unknown in the profession and published nothing more.\n\nA handful of contributors are just recorded by name, with no indication of what they contributed, nor whom they might be.\n\nGeorge Glover\nGeorge Glover (fl. 1804–18), naval architect, was the named author of the naval architecture articles. However, no person of that name has been traced writing anything else or to have a connection with shipbuilding matters. It seems probable that the name is pseudonymous.\n\nThe articles are:\nBlocks, vol 4, 1804/5\nBoat, vol 4, 1804/5\nMast, vol 22, 1812\nRope and Rope-making, vol 30, 1815\nRigging, vol 30, 1815\nSail and Sail-Making, vol 31, 1815\nShip-Building, vol 32, 1816\nYards, vol 39, 1818\n\nThese articles were reprinted (with the one by John Farey on the manufacture of Ship's Blocks, from Volume 22), by David & Charles in 1972 with the title Rees's Naval Architecture. All the Glover articles have elements from the 1794 edition of Steel's Rigging and Seamanship and the 1818 edition of The Art of Rigging.\n\nJohn Fletcher\nA number of the covers (1805–1809) note he was a lecturer at the Royal Institution; he also wrote about chemistry. So far, no biographical information has been found.\n\nKirkman\nNoted as making drawings, but no candidate has been found.\n\nH. Parker\nNoted as writing about prosody and versification, but no candidate has been found.\n\nGeorge Sanderson\nNoted as writing the \"Arch\" article, but no candidate has been found. He was a self-taught mathematician. A portrait had appeared in Philosophical Magazine, vol. 15, with an appeal for a biography to be written.\n\nW. Symonds\nNo topics or candidate have been found.\n\nNotes and references\n\nBritish encyclopedists\nRees's Cyclopædia", "A contributor network (or contributor platform) is an arrangement in which an online publication releases articles authored by freelance writers, known as contributors, who are not part of its staff. Depending on the program, contributors may be paid or unpaid; paid contributors are typically compensated based on the volume of articles they produce or the amount of web traffic their articles generate.\n\nOnline publications use contributor networks to inexpensively expand their content selection. Because contributors are freelancers, publications can increase or decrease the number of contributors in their networks more easily than they can hire or fire employees. Some publications that use the contributor model exercise limited editorial oversight. For example, online articles written by Forbes contributors are not reviewed by editors prior to publication.\n\nContributor networks are vulnerable to conflicts of interest. Public relations agents and marketing companies have advertised their clients by submitting promotional articles to the contributor networks of Entrepreneur, Fast Company, Forbes, HuffPost, Inc., Insider, and Mashable.\n\nSee also \n\n Content marketing\n Self-publishing\n Stringer (journalism)\n User-generated content\n Vanity press\n\nReferences \n\nJournalism\nElectronic publishing\nTemporary employment" ]
[ "John Cage", "Centenary commemoration", "Are there any other interesting aspects about this article?", "A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth,", "How was the project put forth?", "It consisted of 13 commissioned works created by composers from around the global", "Who were some of the contributors?", "The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust." ]	C_a0ed1788fd7c4d0da279f5d306cc4a48_0	How much did it cost to produce?	4	How much did the celebration centenary of John Cage's birth cost?	John Cage	In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER	CANNOTANSWER	John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48). His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text decision-making tool, which uses chance operations to suggest answers to questions one may pose, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living". Life 1912–1931: Early years Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times. The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work. Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have the opportunity to hear what other people think," anticipating 4′33″ by more than thirty years. Cage enrolled at Pomona College in Claremont as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist Marcel Duchamp via professor José Pijoan, of writer James Joyce via Don Sample, of philosopher Ananda Coomaraswamy and of Henry Cowell. In 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in the 1991 autobiographical statement: I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left. Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher Lazare Lévy, he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment." 1931–1936: Apprenticeship Cage returned to the United States in 1931. He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as Richard Buhlig (who became his first composition teacher) and arts patron Galka Scheyer. By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter", in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil. Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. He supported himself financially by taking up a job washing walls at a Brooklyn YWCA (World Young Women's Christian Association). Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. Cage studied with Schoenberg in California: first at University of Southern California and then at University of California, Los Angeles, as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being a composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall." Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer. At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935. 1937–1949: Modern dance and Eastern influences The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. In 1938, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer Lou Harrison. According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further. After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong romantic partner and artistic collaborator. Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design (what later became the IIT Institute of Design). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met important artists such as Piet Mondrian, André Breton, Jackson Pollock, and Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art (MoMA), Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband Joseph Campbell. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio. In 1944, he appeared in Maya Deren's At Land, a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read further the works of Coomaraswamy. The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his Music for Piano and his monumental piano cycle Etudes Australes to her. 1950s: Discovering chance After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school." In early 1951, Wolff presented Cage with a copy of the I Ching—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound ... I don't need sound to talk to me. Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51), the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching. Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326 Monroe Street (which he occupied since around 1946), his financial situation in 1951 worsened so much that while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures and performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen and Iannis Xenakis. During this time Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first "happening" (see discussion below) in the United States, later titled Theatre Piece No. 1, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative, a community in Stony Point, New York, where his neighbors included David Tudor, M. C. Richards, Karen Karnes, Stan VanDerBeek, and Sari Dienes. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958). 1960s: Fame Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds. Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, Ben Patterson, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death. 1969–1987: New departures Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press. 1987–1992: Final years and death In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale. In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in the Ramapo Mountains, near Stony Point, New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer Walter Zimmermann and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern. Merce Cunningham died of natural causes in July 2009. Music Early works, rhythmic structure, and new approaches to harmony Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938). Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example), or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously. In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony. Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. Chance A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and I Ching hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau. Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″). Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these: Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? Which of the twelve possible chromatic transpositions am I using? For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand. Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0′00″ (1962; also known as 4′33″ No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on March 3, 2012 at the London Coliseum. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. Improvisation Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance. Visual art, writings, and other activities Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations. From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals. Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103. Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. Cage was also an avid amateur mycologist. He co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz. Reception and influence Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function." An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general: The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power. Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable.{} After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques. Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and Howard Skempton. The Japanese composer Tōru Takemitsu has also cited Cage's influence. Following Cage's death Simon Jeffes, founder of the Penguin Cafe Orchestra, composed a piece entitled CAGE DEAD, using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence. Radiohead undertook a composing and performing collaboration with Cunningham's dance troupe in 2003 because the music-group's leader Thom Yorke considered Cage one of his "all-time art heroes". Centenary commemoration In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the globe such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4′33″. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." Archives The archive of the John Cage Trust is held at Bard College in upstate New York. The John Cage Music Manuscript Collection held by the Music Division of the New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. The John Cage Papers are held in the Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. See also An Anthology of Chance Operations List of compositions by John Cage The Organ2/ASLSP (a.k.a. As Slow as Possible) project, the longest concert ever created. The Revenge of the Dead Indians, a 1993 documentary about Cage by Henning Lohner. Works for prepared piano by John Cage Explanatory notes Citations Sources Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. Kuhn, Laura (ed). 2016. Selected Letters of John Cage. Wesleyan University Press. . Lejeunne, Denis. 2012. The Radical Use of Chance in 20th Century Art, Rodopi Press, Amsterdam. Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. Nicholls, David. 2007. John Cage. University of Illinois Press. Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. , Further reading . 2013. L'infinita durata del non suono. Mimesis Publishing, Milan Arena, Leonardo Vittorio. 2014. Il Tao del non suono, ebook. Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. , Davidović, Dalibor. 2015. Branches, Musicological Annual, 51: 2, 9–25. (On Cage's notion of anarchy) Eldred, Michael. 1995/2006. Heidegger's Hölderlin and John Cage, www.arte-fact.org Eldred, Michael. 2010. The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org Haskins, Rob. 2012. John Cage. Chicago: University of Chicago Press. Every Day is a Good Day – The Visual Art of John Cage. 2010. Hayward Publishing. . Larson, Kay. 2012. Where the Heart Beats – John Cage, Zen Buddhism, and the Inner Life of Artists. Penguin Books USA. Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. Taruskin, Richard. 2005. Oxford History of Western Music. Vol. 5. Oxford: Oxford University Press. "Indeterminacy" pp. 55–101. Zimmerman, Walter. Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver ). External links General information and catalogues A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials. Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961. Guide to the John Cage Mycology Collection John Cage oral histories at Oral History of American Music Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org. Interview with John Cage, June 21, 1987 An interview with John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art. Link collections John Cage Online Photographs of John Cage from the UC Santa Cruz Library's Digital Collections Specific topics "Silence and Change / Five Hanau Silence": Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squatted culture center in Hanau (Germany) in 1991, (English / German). Garten, Joel, "Interview With MoMA Curator David Platzker About the New Exhibition on John Cage", The Huffington Post, February 20, 2014. Listening In Conversation with Morton Feldman, 1966, Part 1, Part 2, Part 3, Part 4, and Part 5 1989 radio interview on the CBC program Brave New Waves. Media John Cage at UbuWeb: historical, sound, film. Indeterminacy, Cage's short stories taken from various publications and accessed in random order. FontanaMixer: computer program by Karlheinz Essl that generates a realtime version of John Cage's "Fontana Mix" (1958) Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco. Notes towards a re-reading of the "Roaratorio" – the work of John Cage and his special relationship to radio at Ràdio Web MACBA The Rest isn't Silence... it doesn't exist! – Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No. 4 in 1951. Fluxradio (podcast) – An exploration of some of the concepts and ideas behind the music and performance practice of Fluxus. John Cage – Journeys in Sound, documentary, Germany, 2012, 60 min., director: Allan Miller & Paul Smaczny, written by Anne-Kathrin Peitz; production: Accentus Music in co-production with Westdeutscher Rundfunk. "Czech Crystal Award" (Best Documentary) at Golden Prague Festival 2012. 1912 births 1992 deaths 20th-century American male musicians 20th-century American male writers 20th-century American composers 20th-century American non-fiction writers 20th-century American philosophers 20th-century American writers 20th-century classical composers 20th-century essayists 20th-century LGBT people 20th-century poets Aesthetics American anarchists American scholars of Buddhism American classical composers American contemporary classical composers American experimental musicians American male classical composers American male essayists American male non-fiction writers American opera composers American Zen Buddhists Ballet composers Bisexual men Bisexual musicians Black Mountain College faculty Buddhist artists Composers for carillon Contemporary classical music performers Converts to Buddhism Cornish College of the Arts faculty Experimental composers Experiments in Art and Technology collaborating artists Fellows of the American Academy of Arts and Sciences Fluxus Kyoto laureates in Arts and Philosophy LGBT artists from the United States LGBT Buddhists LGBT classical composers LGBT musicians from the United States LGBT people from California Male opera composers Mills College faculty Music & Arts artists Music theorists Musicians from Los Angeles People from Stony Point, New York Philosophers of art Philosophers of culture Philosophy of music Pomona College alumni Pupils of Arnold Schoenberg Pupils of Henry Cowell Sub Rosa Records artists Wesleyan University faculty	false	[ "In economics the generalized-Ozaki cost is a general description of cost described by Shuichi Nakamura.\n\nFor output y, at date t and a vector of m input prices p, the generalized-Ozaki cost, c, is\n\nDiscussion\n\nIn econometrics it is often desirable to have a model of the cost of production of a given output with given inputs—or in common terms, what it will cost to produce some number of goods at prevailing prices, or given prevailing prices and a budget, how much can be made. Generally there are two parts to a cost function, the fixed and variable costs involved in production.\n\nThe marginal cost is the change in the cost of production for a single unit. Most cost functions then take the price of the inputs and adjust for different factors of production, typically, technology, economies of scale, and elasticities of inputs.\n\nTraditional cost functions include Cobb–Douglas and the constant elasticity of substitution models. These are still used because for a wide variety of activities, effects such as varying ability to substitute materials does not change. For example, for people running a bake sale, the ability to substitute one kind of chocolate chip for another will not vary over the number of cookies they can bake. However, as economies of scale and changes in substitution become important models that handle these effects become more useful, such as the transcendental log cost function.\n\nThe traditional forms are economically homothetic. This means they can be expressed as a function, and that function can be broken into an outer part and an inner part. The inner part will appear once as a term in the outer part, and the inner part will be monotonically increasing, or to say it another way, it never goes down. However, empirically in the areas of trade and production, homoethetic and monolithic functional models do not accurately predict results. One example is in the gravity equation for trade, or how much will two countries trade with each other based on GDP and distance. This led researchers to explore non-homothetic models of production, to fit with a cross section analysis of producer behavior, for example, when producers would begin to minimize costs by switching inputs, or investing in increased production.\n\nReferences\n\nFunctions and mappings\nProduction economics", "In economics, a cost function represents the minimum cost of producing a quantity of some good. The long-run cost curve is a cost function that models this minimum cost over time, meaning inputs are not fixed. Using the long-run cost curve, firms can scale their means of production to reduce the costs of producing the good.\n\nThere are three principal cost functions (or 'curves') used in microeconomic analysis:\n Long-run total cost (LRTC) is the cost function that represents the total cost of production for all goods produced.\n Long-run average cost (LRAC) is the cost function that represents the average cost per unit of producing some good.\n Long-run marginal cost (LRMC) is the cost function that represents the cost of producing one more unit of some good.\n\nThe idealized \"long run\" for a firm refers to the absence of time-based restrictions on what inputs (such as factors of production) a firm can employ in its production technology. For example, a firm cannot build an additional factory in the short run, but this restriction does not apply in the long run. Because forecasting introduces complexity, firms typically assume that the long-run costs are based on the technology, information, and prices that the firm faces currently. The long-run cost curve does not try to anticipate changes in the firm, the technology, or the industry. It only reflects how costs would be different if there were no constraints on changing the inputs in the current period.\n\nAn ideal cost curve assumes technical efficiency because a firm always has an incentive to be as technically efficient as possible. Firms have a variety of methods of using various amounts of inputs, and they select the lowest total cost method for any given amount of output (quantity produced). For example, if a micro-enterprise wanted to make a few pins, the cheapest way to do so might be to hire a jack-of-all-trades, buy a little scrap metal, and have him work on it at home. However, if a firm wanted to produce thousands of pins, the lowest total cost might be achieved by renting a factory, buying specialized equipment, and hiring an assembly line of factory workers to perform specialized actions at each stage of producing the pins. In the short run, the firm might not have time to rent a factory, buy specialized tools, and hire factory workers. In that case, the firm would not be able to achieve short-run minimum costs, but the long-run costs would be much less. The increase in choices about how to produce in the long run means that long-run costs are equal to or less than short run costs, ceteris paribus.\n\nThe term curves does not necessarily mean the cost function has any curvature. However, many economic models assume that cost curves are differentiable so that the LRMC is well-defined. Traditionally, cost curves have quantity on the horizontal axis of the graph and cost on the vertical axis.\n\nSee also\n Socially optimal firm size\n\nReferences\n\nCosts\nEconomics curves" ]
[ "John Cage", "Centenary commemoration", "Are there any other interesting aspects about this article?", "A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth,", "How was the project put forth?", "It consisted of 13 commissioned works created by composers from around the global", "Who were some of the contributors?", "The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.", "How much did it cost to produce?", "I don't know." ]	C_a0ed1788fd7c4d0da279f5d306cc4a48_0	How long did it take to put together?	5	How long did the celebration centenary of John Cage's birth take to put together?	John Cage	In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER	each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''.	John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48). His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text decision-making tool, which uses chance operations to suggest answers to questions one may pose, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living". Life 1912–1931: Early years Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times. The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work. Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have the opportunity to hear what other people think," anticipating 4′33″ by more than thirty years. Cage enrolled at Pomona College in Claremont as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist Marcel Duchamp via professor José Pijoan, of writer James Joyce via Don Sample, of philosopher Ananda Coomaraswamy and of Henry Cowell. In 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in the 1991 autobiographical statement: I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left. Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher Lazare Lévy, he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment." 1931–1936: Apprenticeship Cage returned to the United States in 1931. He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as Richard Buhlig (who became his first composition teacher) and arts patron Galka Scheyer. By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter", in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil. Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. He supported himself financially by taking up a job washing walls at a Brooklyn YWCA (World Young Women's Christian Association). Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. Cage studied with Schoenberg in California: first at University of Southern California and then at University of California, Los Angeles, as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being a composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall." Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer. At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935. 1937–1949: Modern dance and Eastern influences The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. In 1938, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer Lou Harrison. According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further. After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong romantic partner and artistic collaborator. Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design (what later became the IIT Institute of Design). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met important artists such as Piet Mondrian, André Breton, Jackson Pollock, and Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art (MoMA), Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband Joseph Campbell. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio. In 1944, he appeared in Maya Deren's At Land, a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read further the works of Coomaraswamy. The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his Music for Piano and his monumental piano cycle Etudes Australes to her. 1950s: Discovering chance After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school." In early 1951, Wolff presented Cage with a copy of the I Ching—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound ... I don't need sound to talk to me. Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51), the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching. Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326 Monroe Street (which he occupied since around 1946), his financial situation in 1951 worsened so much that while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures and performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen and Iannis Xenakis. During this time Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first "happening" (see discussion below) in the United States, later titled Theatre Piece No. 1, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative, a community in Stony Point, New York, where his neighbors included David Tudor, M. C. Richards, Karen Karnes, Stan VanDerBeek, and Sari Dienes. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958). 1960s: Fame Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds. Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, Ben Patterson, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death. 1969–1987: New departures Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press. 1987–1992: Final years and death In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale. In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in the Ramapo Mountains, near Stony Point, New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer Walter Zimmermann and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern. Merce Cunningham died of natural causes in July 2009. Music Early works, rhythmic structure, and new approaches to harmony Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938). Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example), or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously. In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony. Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. Chance A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and I Ching hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau. Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″). Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these: Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? Which of the twelve possible chromatic transpositions am I using? For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand. Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0′00″ (1962; also known as 4′33″ No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on March 3, 2012 at the London Coliseum. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. Improvisation Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance. Visual art, writings, and other activities Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations. From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals. Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103. Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. Cage was also an avid amateur mycologist. He co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz. Reception and influence Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function." An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general: The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power. Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable.{} After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques. Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and Howard Skempton. The Japanese composer Tōru Takemitsu has also cited Cage's influence. Following Cage's death Simon Jeffes, founder of the Penguin Cafe Orchestra, composed a piece entitled CAGE DEAD, using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence. Radiohead undertook a composing and performing collaboration with Cunningham's dance troupe in 2003 because the music-group's leader Thom Yorke considered Cage one of his "all-time art heroes". Centenary commemoration In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the globe such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4′33″. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." Archives The archive of the John Cage Trust is held at Bard College in upstate New York. The John Cage Music Manuscript Collection held by the Music Division of the New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. The John Cage Papers are held in the Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. See also An Anthology of Chance Operations List of compositions by John Cage The Organ2/ASLSP (a.k.a. As Slow as Possible) project, the longest concert ever created. The Revenge of the Dead Indians, a 1993 documentary about Cage by Henning Lohner. Works for prepared piano by John Cage Explanatory notes Citations Sources Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. Kuhn, Laura (ed). 2016. Selected Letters of John Cage. Wesleyan University Press. . Lejeunne, Denis. 2012. The Radical Use of Chance in 20th Century Art, Rodopi Press, Amsterdam. Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. Nicholls, David. 2007. John Cage. University of Illinois Press. Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. , Further reading . 2013. L'infinita durata del non suono. Mimesis Publishing, Milan Arena, Leonardo Vittorio. 2014. Il Tao del non suono, ebook. Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. , Davidović, Dalibor. 2015. Branches, Musicological Annual, 51: 2, 9–25. (On Cage's notion of anarchy) Eldred, Michael. 1995/2006. Heidegger's Hölderlin and John Cage, www.arte-fact.org Eldred, Michael. 2010. The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org Haskins, Rob. 2012. John Cage. Chicago: University of Chicago Press. Every Day is a Good Day – The Visual Art of John Cage. 2010. Hayward Publishing. . Larson, Kay. 2012. Where the Heart Beats – John Cage, Zen Buddhism, and the Inner Life of Artists. Penguin Books USA. Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. Taruskin, Richard. 2005. Oxford History of Western Music. Vol. 5. Oxford: Oxford University Press. "Indeterminacy" pp. 55–101. Zimmerman, Walter. Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver ). External links General information and catalogues A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials. Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961. Guide to the John Cage Mycology Collection John Cage oral histories at Oral History of American Music Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org. Interview with John Cage, June 21, 1987 An interview with John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art. Link collections John Cage Online Photographs of John Cage from the UC Santa Cruz Library's Digital Collections Specific topics "Silence and Change / Five Hanau Silence": Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squatted culture center in Hanau (Germany) in 1991, (English / German). Garten, Joel, "Interview With MoMA Curator David Platzker About the New Exhibition on John Cage", The Huffington Post, February 20, 2014. Listening In Conversation with Morton Feldman, 1966, Part 1, Part 2, Part 3, Part 4, and Part 5 1989 radio interview on the CBC program Brave New Waves. Media John Cage at UbuWeb: historical, sound, film. Indeterminacy, Cage's short stories taken from various publications and accessed in random order. FontanaMixer: computer program by Karlheinz Essl that generates a realtime version of John Cage's "Fontana Mix" (1958) Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco. Notes towards a re-reading of the "Roaratorio" – the work of John Cage and his special relationship to radio at Ràdio Web MACBA The Rest isn't Silence... it doesn't exist! – Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No. 4 in 1951. Fluxradio (podcast) – An exploration of some of the concepts and ideas behind the music and performance practice of Fluxus. John Cage – Journeys in Sound, documentary, Germany, 2012, 60 min., director: Allan Miller & Paul Smaczny, written by Anne-Kathrin Peitz; production: Accentus Music in co-production with Westdeutscher Rundfunk. "Czech Crystal Award" (Best Documentary) at Golden Prague Festival 2012. 1912 births 1992 deaths 20th-century American male musicians 20th-century American male writers 20th-century American composers 20th-century American non-fiction writers 20th-century American philosophers 20th-century American writers 20th-century classical composers 20th-century essayists 20th-century LGBT people 20th-century poets Aesthetics American anarchists American scholars of Buddhism American classical composers American contemporary classical composers American experimental musicians American male classical composers American male essayists American male non-fiction writers American opera composers American Zen Buddhists Ballet composers Bisexual men Bisexual musicians Black Mountain College faculty Buddhist artists Composers for carillon Contemporary classical music performers Converts to Buddhism Cornish College of the Arts faculty Experimental composers Experiments in Art and Technology collaborating artists Fellows of the American Academy of Arts and Sciences Fluxus Kyoto laureates in Arts and Philosophy LGBT artists from the United States LGBT Buddhists LGBT classical composers LGBT musicians from the United States LGBT people from California Male opera composers Mills College faculty Music & Arts artists Music theorists Musicians from Los Angeles People from Stony Point, New York Philosophers of art Philosophers of culture Philosophy of music Pomona College alumni Pupils of Arnold Schoenberg Pupils of Henry Cowell Sub Rosa Records artists Wesleyan University faculty	false	[ "\"How Long's a Tear Take to Dry?\" is a single by British pop rock group the Beautiful South from their sixth album, Quench (1998). It was written by Paul Heaton and Dave Rotheray. The lyrics, which take the form of a conversation between two reconciling lovers, are noted for a reference to the TARDIS from Doctor Who. According to the book Last Orders at the Liars Bar: the Official Story of the Beautiful South, \"How Long's a Tear Take To Dry?\" was originally to be called \"She Bangs the Buns\" due to its chord structure reminiscent of Manchester's the Stone Roses. The song reached number 12 on the UK Singles Chart, becoming the band's twelfth and final top-twenty hit.\n\nSingle release\n\"How Long's a Tear Take to Dry?\" reached number 12 in the UK Singles Chart in March 1999. Although not released on vinyl, it was given a dual-CD release in the UK. B-sides included a remix of \"How Long's a Tear Take to Dry?\" as well as acoustic versions of three other songs: \"Perfect 10\", \"Big Coin\", and \"Rotterdam\". On 18 March 1999, the band performed \"How Long's a Tear Take to Dry?\" live on the BBC music programme Top of the Pops.\n\nMusic video\nThe music video, available on The Beautiful South's compilation DVD Munch, is a humorous account of The Beautiful South on a world tour in order to pay for drinks at the local bar. The band is portrayed by cartoon versions of themselves, in a style reminiscent of 1960s-era Hanna-Barbera cartoons, and Scooby-Doo in particular. In the commentary track on the Munch DVD, Paul Heaton explains that the video was actually produced by Hanna-Barbera.\n\nTrack listings\n\nUK CD1\n \"How Long's a Tear Take to Dry?\"\n \"How Long's a Tear Take to Dry?\" (remix)\n \"Perfect 10\" (acoustic)\n\nUK CD2\n \"How Long's a Tear Take to Dry?\"\n \"Big Coin\" (acoustic)\n \"Rotterdam\" (acoustic)\n\nUK cassette single\n \"How Long's a Tear Take to Dry?\"\n \"How Long's a Tear Take to Dry?\" (remix)\n\nEuropean CD single\n \"How Long's a Tear Take to Dry?\" (radio edit)\n \"How Long's a Tear Take to Dry?\" (remix)\n \"Perfect 10\" (acoustic)\n \"Rotterdam\" (acoustic)\n\nGerman CD single\n \"How Long's a Tear Take to Dry?\"\n \"Dumb\"\n \"I Sold My Heart to the Junkman\"\n \"Suck Harder\"\n\nCharts\n\nReferences\n\n Pattenden, Mike - Last Orders at the Liars Bar: the Official Story of the Beautiful South ()\n\n1999 singles\n1998 songs\nThe Beautiful South songs\nGo! Discs singles\nHanna-Barbera\nMercury Records singles\nSongs written by David Rotheray\nSongs written by Paul Heaton", "Maybeck Recital Hall Series, Volume Thirty-Two is an album of solo performances by jazz pianist Roland Hanna.\n\nMusic and recording\nThe album was recorded at the Maybeck Recital Hall in Berkeley, California in August 1993. The material is mostly Gershwin compositions, including medleys.\n\nRelease and reception\n\nThe Penguin Guide to Jazz highlighted Hanna's use of chromaticism. The AllMusic reviewer wrote that Hanna \"mixes his stride, Tatum, bop and classical strains freely, but with the structure of his instant compositions always in mind, the signs of a musician who knows how to put together a satisfying solo piano gig.\"\n\nTrack listing\n\"Love Walked In\"\n\"They Can't Take That Away from Me\"\n\"Softly, As in a Morning Sunrise\"\n\"Fascinating Rhythm/The Man I Love/Let's Call the Whole Thing Off\"\n\"How Long Has This Been Going On?\"\n\"Oleo\"\n\"Lush Life\"\n\"This Can't Be Love\"\n\nPersonnel\nRoland Hanna – piano\n\nReferences\n\nAlbums recorded at the Maybeck Recital Hall\nSolo piano jazz albums" ]
[ "John Cage", "Centenary commemoration", "Are there any other interesting aspects about this article?", "A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth,", "How was the project put forth?", "It consisted of 13 commissioned works created by composers from around the global", "Who were some of the contributors?", "The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.", "How much did it cost to produce?", "I don't know.", "How long did it take to put together?", "each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''." ]	C_a0ed1788fd7c4d0da279f5d306cc4a48_0	Who else contributed or sponsored the project?	6	Who else contributed or sponsored the celebration centenary of John Cage's birth besides Juraj Kojs?	John Cage	In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER	works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega,	John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48). His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text decision-making tool, which uses chance operations to suggest answers to questions one may pose, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living". Life 1912–1931: Early years Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times. The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work. Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have the opportunity to hear what other people think," anticipating 4′33″ by more than thirty years. Cage enrolled at Pomona College in Claremont as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist Marcel Duchamp via professor José Pijoan, of writer James Joyce via Don Sample, of philosopher Ananda Coomaraswamy and of Henry Cowell. In 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in the 1991 autobiographical statement: I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left. Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher Lazare Lévy, he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment." 1931–1936: Apprenticeship Cage returned to the United States in 1931. He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as Richard Buhlig (who became his first composition teacher) and arts patron Galka Scheyer. By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter", in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil. Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. He supported himself financially by taking up a job washing walls at a Brooklyn YWCA (World Young Women's Christian Association). Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. Cage studied with Schoenberg in California: first at University of Southern California and then at University of California, Los Angeles, as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being a composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall." Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer. At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935. 1937–1949: Modern dance and Eastern influences The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. In 1938, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer Lou Harrison. According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further. After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong romantic partner and artistic collaborator. Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design (what later became the IIT Institute of Design). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met important artists such as Piet Mondrian, André Breton, Jackson Pollock, and Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art (MoMA), Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband Joseph Campbell. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio. In 1944, he appeared in Maya Deren's At Land, a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read further the works of Coomaraswamy. The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his Music for Piano and his monumental piano cycle Etudes Australes to her. 1950s: Discovering chance After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school." In early 1951, Wolff presented Cage with a copy of the I Ching—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound ... I don't need sound to talk to me. Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51), the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching. Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326 Monroe Street (which he occupied since around 1946), his financial situation in 1951 worsened so much that while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures and performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen and Iannis Xenakis. During this time Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first "happening" (see discussion below) in the United States, later titled Theatre Piece No. 1, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative, a community in Stony Point, New York, where his neighbors included David Tudor, M. C. Richards, Karen Karnes, Stan VanDerBeek, and Sari Dienes. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958). 1960s: Fame Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds. Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, Ben Patterson, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death. 1969–1987: New departures Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press. 1987–1992: Final years and death In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale. In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in the Ramapo Mountains, near Stony Point, New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer Walter Zimmermann and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern. Merce Cunningham died of natural causes in July 2009. Music Early works, rhythmic structure, and new approaches to harmony Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938). Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example), or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously. In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony. Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. Chance A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and I Ching hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau. Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″). Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these: Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? Which of the twelve possible chromatic transpositions am I using? For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand. Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0′00″ (1962; also known as 4′33″ No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on March 3, 2012 at the London Coliseum. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. Improvisation Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance. Visual art, writings, and other activities Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations. From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals. Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103. Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. Cage was also an avid amateur mycologist. He co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz. Reception and influence Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function." An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general: The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power. Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable.{} After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques. Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and Howard Skempton. The Japanese composer Tōru Takemitsu has also cited Cage's influence. Following Cage's death Simon Jeffes, founder of the Penguin Cafe Orchestra, composed a piece entitled CAGE DEAD, using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence. Radiohead undertook a composing and performing collaboration with Cunningham's dance troupe in 2003 because the music-group's leader Thom Yorke considered Cage one of his "all-time art heroes". Centenary commemoration In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the globe such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4′33″. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." Archives The archive of the John Cage Trust is held at Bard College in upstate New York. The John Cage Music Manuscript Collection held by the Music Division of the New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. The John Cage Papers are held in the Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. See also An Anthology of Chance Operations List of compositions by John Cage The Organ2/ASLSP (a.k.a. As Slow as Possible) project, the longest concert ever created. The Revenge of the Dead Indians, a 1993 documentary about Cage by Henning Lohner. Works for prepared piano by John Cage Explanatory notes Citations Sources Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. Kuhn, Laura (ed). 2016. Selected Letters of John Cage. Wesleyan University Press. . Lejeunne, Denis. 2012. The Radical Use of Chance in 20th Century Art, Rodopi Press, Amsterdam. Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. Nicholls, David. 2007. John Cage. University of Illinois Press. Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. , Further reading . 2013. L'infinita durata del non suono. Mimesis Publishing, Milan Arena, Leonardo Vittorio. 2014. Il Tao del non suono, ebook. Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. , Davidović, Dalibor. 2015. Branches, Musicological Annual, 51: 2, 9–25. (On Cage's notion of anarchy) Eldred, Michael. 1995/2006. Heidegger's Hölderlin and John Cage, www.arte-fact.org Eldred, Michael. 2010. The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org Haskins, Rob. 2012. John Cage. Chicago: University of Chicago Press. Every Day is a Good Day – The Visual Art of John Cage. 2010. Hayward Publishing. . Larson, Kay. 2012. Where the Heart Beats – John Cage, Zen Buddhism, and the Inner Life of Artists. Penguin Books USA. Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. Taruskin, Richard. 2005. Oxford History of Western Music. Vol. 5. Oxford: Oxford University Press. "Indeterminacy" pp. 55–101. Zimmerman, Walter. Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver ). External links General information and catalogues A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials. Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961. Guide to the John Cage Mycology Collection John Cage oral histories at Oral History of American Music Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org. Interview with John Cage, June 21, 1987 An interview with John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art. Link collections John Cage Online Photographs of John Cage from the UC Santa Cruz Library's Digital Collections Specific topics "Silence and Change / Five Hanau Silence": Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squatted culture center in Hanau (Germany) in 1991, (English / German). Garten, Joel, "Interview With MoMA Curator David Platzker About the New Exhibition on John Cage", The Huffington Post, February 20, 2014. Listening In Conversation with Morton Feldman, 1966, Part 1, Part 2, Part 3, Part 4, and Part 5 1989 radio interview on the CBC program Brave New Waves. Media John Cage at UbuWeb: historical, sound, film. Indeterminacy, Cage's short stories taken from various publications and accessed in random order. FontanaMixer: computer program by Karlheinz Essl that generates a realtime version of John Cage's "Fontana Mix" (1958) Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco. Notes towards a re-reading of the "Roaratorio" – the work of John Cage and his special relationship to radio at Ràdio Web MACBA The Rest isn't Silence... it doesn't exist! – Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No. 4 in 1951. Fluxradio (podcast) – An exploration of some of the concepts and ideas behind the music and performance practice of Fluxus. John Cage – Journeys in Sound, documentary, Germany, 2012, 60 min., director: Allan Miller & Paul Smaczny, written by Anne-Kathrin Peitz; production: Accentus Music in co-production with Westdeutscher Rundfunk. "Czech Crystal Award" (Best Documentary) at Golden Prague Festival 2012. 1912 births 1992 deaths 20th-century American male musicians 20th-century American male writers 20th-century American composers 20th-century American non-fiction writers 20th-century American philosophers 20th-century American writers 20th-century classical composers 20th-century essayists 20th-century LGBT people 20th-century poets Aesthetics American anarchists American scholars of Buddhism American classical composers American contemporary classical composers American experimental musicians American male classical composers American male essayists American male non-fiction writers American opera composers American Zen Buddhists Ballet composers Bisexual men Bisexual musicians Black Mountain College faculty Buddhist artists Composers for carillon Contemporary classical music performers Converts to Buddhism Cornish College of the Arts faculty Experimental composers Experiments in Art and Technology collaborating artists Fellows of the American Academy of Arts and Sciences Fluxus Kyoto laureates in Arts and Philosophy LGBT artists from the United States LGBT Buddhists LGBT classical composers LGBT musicians from the United States LGBT people from California Male opera composers Mills College faculty Music & Arts artists Music theorists Musicians from Los Angeles People from Stony Point, New York Philosophers of art Philosophers of culture Philosophy of music Pomona College alumni Pupils of Arnold Schoenberg Pupils of Henry Cowell Sub Rosa Records artists Wesleyan University faculty	false	[ "Johnson's Russia List (JRL) is an email newsletter containing Russia-related news and analysis in English. David Johnson is the list's editor. The JRL generally comes out one or more times per day. JRL's content includes articles syndicated from other media outlets, as well as comments contributed by its readers. The JRL is a nonprofit project currently sponsored through the Institute for European, Russian, and Eurasian Studies (IERES) at The George Washington University's Elliott School of International Affairs. It was previously a project at the Center for Defense Information and World Security Institute.\n\nExternal links\nJohnson's Russia List website\nJRL announcement by IERES webpage \nWorld Security Institute website\nCenter for Defense Information website\n\nNewsletters", "Infinite Summer was an online book club–style project started by writer Matthew Baldwin. Sponsored by The Morning News, participants were challenged to read and complete David Foster Wallace's novel Infinite Jest at a rate of about 75 pages a week from June 21 to September 22, 2009.\n\nBaldwin and three other writers acted as \"guides\", providing commentary on the main Infinite Summer website. Participants in the project also contributed commentary over a variety of social networking services, including Facebook, Tumblr, and Twitter, where related posts were marked with the hashtag #infsum. \n\nBaldwin said in interviews that the project was prompted in part by Wallace's death in September 2008.\n\nNotable participants in the project included Colin Meloy of The Decemberists, Ezra Klein of The Washington Post, and John Krasinski, who was about to release his film adaptation of Wallace's Brief Interviews with Hideous Men. Though he did not participate, John Hodgman described the project as \"a noble and crazy enterprise.\"\n\nReferences\n\nExternal links\n \n\nAmerican book websites\nBook promotion\nInternet properties disestablished in 2009" ]
[ "John Cage", "Centenary commemoration", "Are there any other interesting aspects about this article?", "A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth,", "How was the project put forth?", "It consisted of 13 commissioned works created by composers from around the global", "Who were some of the contributors?", "The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust.", "How much did it cost to produce?", "I don't know.", "How long did it take to put together?", "each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''.", "Who else contributed or sponsored the project?", "works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega," ]	C_a0ed1788fd7c4d0da279f5d306cc4a48_0	When was the debut?	7	When was the debut of the celebration centenary of John Cage's birth?	John Cage	In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the global such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4'33''. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." CANNOTANSWER	2012	John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48). His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text decision-making tool, which uses chance operations to suggest answers to questions one may pose, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living". Life 1912–1931: Early years Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times. The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work. Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have the opportunity to hear what other people think," anticipating 4′33″ by more than thirty years. Cage enrolled at Pomona College in Claremont as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist Marcel Duchamp via professor José Pijoan, of writer James Joyce via Don Sample, of philosopher Ananda Coomaraswamy and of Henry Cowell. In 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in the 1991 autobiographical statement: I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left. Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher Lazare Lévy, he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment." 1931–1936: Apprenticeship Cage returned to the United States in 1931. He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as Richard Buhlig (who became his first composition teacher) and arts patron Galka Scheyer. By 1933 Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter", in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil. Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. He supported himself financially by taking up a job washing walls at a Brooklyn YWCA (World Young Women's Christian Association). Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. Cage studied with Schoenberg in California: first at University of Southern California and then at University of California, Los Angeles, as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being a composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, "In that case I will devote my life to beating my head against that wall." Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer. At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935. 1937–1949: Modern dance and Eastern influences The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. In 1938, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer Lou Harrison. According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further. After several months he left and moved to Seattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage's lifelong romantic partner and artistic collaborator. Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design (what later became the IIT Institute of Design). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met important artists such as Piet Mondrian, André Breton, Jackson Pollock, and Marcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the Museum of Modern Art (MoMA), Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband Joseph Campbell. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio. In 1944, he appeared in Maya Deren's At Land, a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read further the works of Coomaraswamy. The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his Music for Piano and his monumental piano cycle Etudes Australes to her. 1950s: Discovering chance After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where the orchestra performed Anton Webern's Symphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school." In early 1951, Wolff presented Cage with a copy of the I Ching—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound ... I don't need sound to talk to me. Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51), the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching. Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326 Monroe Street (which he occupied since around 1946), his financial situation in 1951 worsened so much that while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures and performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen and Iannis Xenakis. During this time Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first "happening" (see discussion below) in the United States, later titled Theatre Piece No. 1, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative, a community in Stony Point, New York, where his neighbors included David Tudor, M. C. Richards, Karen Karnes, Stan VanDerBeek, and Sari Dienes. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958). 1960s: Fame Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds. Many of the Variations and other 1960s pieces were in fact "happenings", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low, Allan Kaprow, Al Hansen, George Brecht, Ben Patterson, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death. 1969–1987: New departures Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press. 1987–1992: Final years and death In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale. In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in the Ramapo Mountains, near Stony Point, New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer Walter Zimmermann and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern. Merce Cunningham died of natural causes in July 2009. Music Early works, rhythmic structure, and new approaches to harmony Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938). Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example), or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously. In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony. Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. Chance A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and I Ching hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau. Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″). Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these: Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? Which of the twelve possible chromatic transpositions am I using? For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand. Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. Concert for Piano and Orchestra, Fontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0′00″ (1962; also known as 4′33″ No. 2) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on March 3, 2012 at the London Coliseum. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. Improvisation Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance. Visual art, writings, and other activities Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations. From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals. Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103. Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. Cage was also an avid amateur mycologist. He co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz. Reception and influence Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function." An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general: The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power. Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable.{} After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques. Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and Howard Skempton. The Japanese composer Tōru Takemitsu has also cited Cage's influence. Following Cage's death Simon Jeffes, founder of the Penguin Cafe Orchestra, composed a piece entitled CAGE DEAD, using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence. Radiohead undertook a composing and performing collaboration with Cunningham's dance troupe in 2003 because the music-group's leader Thom Yorke considered Cage one of his "all-time art heroes". Centenary commemoration In 2012, amongst a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more amongst the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the globe such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4′33″. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." Archives The archive of the John Cage Trust is held at Bard College in upstate New York. The John Cage Music Manuscript Collection held by the Music Division of the New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. The John Cage Papers are held in the Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. See also An Anthology of Chance Operations List of compositions by John Cage The Organ2/ASLSP (a.k.a. As Slow as Possible) project, the longest concert ever created. The Revenge of the Dead Indians, a 1993 documentary about Cage by Henning Lohner. Works for prepared piano by John Cage Explanatory notes Citations Sources Kostelanetz, Richard. 2003. Conversing with John Cage, Routledge. Kuhn, Laura (ed). 2016. Selected Letters of John Cage. Wesleyan University Press. . Lejeunne, Denis. 2012. The Radical Use of Chance in 20th Century Art, Rodopi Press, Amsterdam. Nicholls, David (ed.). 2002. The Cambridge Companion to John Cage. Cambridge University Press, 2002. Nicholls, David. 2007. John Cage. University of Illinois Press. Perloff, Marjorie, and Junkerman, Charles. 1994. John Cage: Composed in America. University of Chicago Press, 1994. Revill, David. 1993. The Roaring Silence: John Cage – a Life. Arcade Publishing. , Further reading . 2013. L'infinita durata del non suono. Mimesis Publishing, Milan Arena, Leonardo Vittorio. 2014. Il Tao del non suono, ebook. Boulez, Pierre, and Cage, John. 1995. The Boulez-Cage Correspondence. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. Brown, Kathan. 2001. John Cage Visual Art: To Sober and Quiet the Mind. Crown Point Press. , Davidović, Dalibor. 2015. Branches, Musicological Annual, 51: 2, 9–25. (On Cage's notion of anarchy) Eldred, Michael. 1995/2006. Heidegger's Hölderlin and John Cage, www.arte-fact.org Eldred, Michael. 2010. The Quivering of Propriation: A Parallel Way to Music, Section II.3 New Music is the Other Music (Cage) www.arte-fact.org Haskins, Rob. 2012. John Cage. Chicago: University of Chicago Press. Every Day is a Good Day – The Visual Art of John Cage. 2010. Hayward Publishing. . Larson, Kay. 2012. Where the Heart Beats – John Cage, Zen Buddhism, and the Inner Life of Artists. Penguin Books USA. Patterson, David W. (ed.). John Cage: Music, Philosophy, and Intention, 1933–1950. Routledge, 2002. Taruskin, Richard. 2005. Oxford History of Western Music. Vol. 5. Oxford: Oxford University Press. "Indeterminacy" pp. 55–101. Zimmerman, Walter. Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver ). External links General information and catalogues A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials. Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961. Guide to the John Cage Mycology Collection John Cage oral histories at Oral History of American Music Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org. Interview with John Cage, June 21, 1987 An interview with John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art. Link collections John Cage Online Photographs of John Cage from the UC Santa Cruz Library's Digital Collections Specific topics "Silence and Change / Five Hanau Silence": Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squatted culture center in Hanau (Germany) in 1991, (English / German). Garten, Joel, "Interview With MoMA Curator David Platzker About the New Exhibition on John Cage", The Huffington Post, February 20, 2014. Listening In Conversation with Morton Feldman, 1966, Part 1, Part 2, Part 3, Part 4, and Part 5 1989 radio interview on the CBC program Brave New Waves. Media John Cage at UbuWeb: historical, sound, film. Indeterminacy, Cage's short stories taken from various publications and accessed in random order. FontanaMixer: computer program by Karlheinz Essl that generates a realtime version of John Cage's "Fontana Mix" (1958) Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio 27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco. Notes towards a re-reading of the "Roaratorio" – the work of John Cage and his special relationship to radio at Ràdio Web MACBA The Rest isn't Silence... it doesn't exist! – Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No. 4 in 1951. Fluxradio (podcast) – An exploration of some of the concepts and ideas behind the music and performance practice of Fluxus. John Cage – Journeys in Sound, documentary, Germany, 2012, 60 min., director: Allan Miller & Paul Smaczny, written by Anne-Kathrin Peitz; production: Accentus Music in co-production with Westdeutscher Rundfunk. "Czech Crystal Award" (Best Documentary) at Golden Prague Festival 2012. 1912 births 1992 deaths 20th-century American male musicians 20th-century American male writers 20th-century American composers 20th-century American non-fiction writers 20th-century American philosophers 20th-century American writers 20th-century classical composers 20th-century essayists 20th-century LGBT people 20th-century poets Aesthetics American anarchists American scholars of Buddhism American classical composers American contemporary classical composers American experimental musicians American male classical composers American male essayists American male non-fiction writers American opera composers American Zen Buddhists Ballet composers Bisexual men Bisexual musicians Black Mountain College faculty Buddhist artists Composers for carillon Contemporary classical music performers Converts to Buddhism Cornish College of the Arts faculty Experimental composers Experiments in Art and Technology collaborating artists Fellows of the American Academy of Arts and Sciences Fluxus Kyoto laureates in Arts and Philosophy LGBT artists from the United States LGBT Buddhists LGBT classical composers LGBT musicians from the United States LGBT people from California Male opera composers Mills College faculty Music & Arts artists Music theorists Musicians from Los Angeles People from Stony Point, New York Philosophers of art Philosophers of culture Philosophy of music Pomona College alumni Pupils of Arnold Schoenberg Pupils of Henry Cowell Sub Rosa Records artists Wesleyan University faculty	true	[ "When Knighthood Was in Flower may refer to:\n\n When Knighthood Was in Flower (novel), the debut novel of American author Charles Major\n When Knighthood Was in Flower (1922 film), a 1922 silent historical film based on the novel\n The Sword and the Rose, a 1953 film based on the novel, also known as When Knighthood Was in Flower in the United Kingdom", "Mayank Markande (born 11 November 1997) is an Indian cricketer who will be playing for Mumbai Indians in the 2022 Indian Premier League (IPL). Mayank hails from Patiala. He studied in Yadavindra public School, Patiala and was part of the school's cricket team.He made his international debut for the India cricket team in February 2019. Markande was only 10 when the first edition of the IPL was played in 2008. Markande had come to notice in the IPL 2018 opener when he trapped MS Dhoni LBW with a googly that skidded through.\n\nMarkande received his maiden Team India cap in the first T20I vs Australia. Markande became the 79th player to represent India in the shortest format of the game.\n\nDomestic career\nHe made his Twenty20 debut for Punjab in the 2017–18 Syed Mushtaq Ali Trophy on 14 January 2018. In January 2018, he was bought by the Mumbai Indians in the 2018 IPL auction for an amount of only ₹20 lakhs. He made his List A debut for Punjab in the 2017–18 Vijay Hazare Trophy on 7 February 2018 in Bengaluru. He made his debut in lPL 2018 playing for the Mumbai Indians franchise. In his first two matches his combined bowing figures were 8-0-46-7. In October 2018, he was named in India B's squad for the 2018–19 Deodhar Trophy. He made his first-class debut for Punjab in the 2018–19 Ranji Trophy on 1 November 2018. He was the leading wicket-taker for Punjab in the tournament, with 29 dismissals in six matches.\n\nIn March 2019, he was named as one of eight players to watch by the International Cricket Council (ICC) ahead of the 2019 Indian Premier League tournament. In October 2019, he was named in India C's squad for the 2019–20 Deodhar Trophy.\n\nInternational career\nIn December 2018, he was named in India's team for the 2018 ACC Emerging Teams Asia Cup. In February 2019, he was named in India's Twenty20 International (T20I) squad for their series against Australia. He made his T20I debut for India against Australia on 24 February 2019.\n\nIndian Premier League Career\nHe made his IPL debut for Mumbai Indians against Chennai Super Kings. Mayank Markande took three wickets on his IPL debut. He picked up three wickets\n\nIn February 2022, he was bought by the Mumbai Indians in the auction for the 2022 Indian Premier League tournament.\n\nReferences\n\nExternal links\n \n\n1997 births\nLiving people\nIndian cricketers\nIndia Twenty20 International cricketers\nPunjab, India cricketers" ]
[ "Francis Bourke", "Coach" ]	C_fe3c443293474235a343121aa286af7a_0	Where did he coach?	1	Where did Francis Bourke coach?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	true	[ "Sergio Santos Hernández (born November 1, 1963) is an Argentine professional basketball coach who most recently served as the head coach of the Argentina national basketball team and Casademont Zaragoza of the Spanish Liga ACB.\n\nHead coaching career\n\nPro clubs\nAs a head coach, Hernández has won numerous titles over his career. They include: 6 Argentine League championships (2000, 2001, 2004, 2010, 2011, 2012), the South American League championship (2001), 3 Argentine Cups (2003, 2004, 2010), the Top 4 Tournament (2004), the South American Club Championship (2004), and 2 FIBA Americas League championships (2008, 2010).\n\nOn November 3, 2020, he has signed with Casademont Zaragoza of the Spanish Liga ACB.\n\nArgentina national team\nHernández was the head coach the senior men's Argentina national basketball team from 2005 to 2010. He succeeded Rubén Magnano in the position, and was the team's head coach at the 2006 FIBA World Championship, the 2008 FIBA Diamond Ball (where the team won the gold medal), the 2008 Summer Olympics (where the team won a bronze medal), and at the 2010 FIBA World Championship (where Argentina finished in 5th place).\n\nAfter his contract to coach the Argentina national team expired in 2010, Hernández did not accept the 4–6 years renewal offered by the Argentine Basketball Federation, therefore ending his tenure as the national team's head coach. He did, however, return to the team as an assistant coach for the 2012 Summer Olympics.\n\nHe then returned as the head coach of Argentina for the 2015 FIBA Americas Championship, where he led Argentina to a silver medal. He was also the head coach of Argentina at the 2016 Summer Olympics.\n\nIn 2019, he coached the Argentina´s team that won the 2019 Pan American gold medal in Lima.\n\nIn 2019, Hernandez coached the men's Argentina national basketball team at the 2019 FIBA Basketball World Cup, where he led Argentina to a silver medal; securing them a spot in the 2020 Summer Olympics.\n\nReferences\n\n1963 births\nLiving people\nArgentine basketball coaches\nArgentine expatriate basketball people in Brazil\nOlympic coaches\nSportspeople from Bahía Blanca", "Dan Arnold Killian (February 5, 1880 – January 15, 1953) was an American football and baseball coach. He served as the head football coach at Louisiana State University (LSU) from 1904 to 1906, compiling a record of 8–6–2. Killian was also the head coach of the LSU baseball team from 1905 to 1906 (tallying a mark of 14–9), as well as head coach of the LSU Tigers track and field team from 1905 to 1906. He also served as athletic director.\n\nKillian was a graduate of the University of Michigan, where he lettered as a shortstop in baseball in 1902. He also reportedly played quarterback on the football team, but if he did, he apparently did not qualify for a letter.\n\nIn 1906 he left coaching \"to do sporting work for a newspaper\" in Chicago.\n\nHe died in Lansing, Michigan in 1953.\n\nHead coaching record\n\nFootball\n\nBaseball\n\nReferences\n\nExternal links\n \n\n1880 births\n1953 deaths\nCollege track and field coaches in the United States\nLSU Tigers football coaches\nLSU Tigers baseball coaches\nLSU Tigers and Lady Tigers track and field coaches\nLSU Tigers and Lady Tigers athletic directors\nUniversity of Michigan alumni\nPeople from Allegan, Michigan\nCoaches of American football from Michigan\nBaseball coaches from Michigan" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road." ]	C_fe3c443293474235a343121aa286af7a_0	How did the team play under him?	2	How did the team at Punt Road play under Francis Bourke?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	true	[ "The Greece national under-21 football team is the national under-21 football team of Greece and is controlled by the Hellenic Football Federation, the governing body for football in Greece. The team competes in the European Under-21 Football Championship, held every two years.\n\nThe under-21 competition rules insist that players must be 21 or under at the start of a two-year competition, so technically it is up to an U-23 competition. To be eligible for the Greece National Team, all the football players must hold Hellenic (Greek) nationality and comply with the provisions of Article 15 of the regulations governing the Application of FIFA Statutes. A list of 35 football players must be submitted to the UEFA administration 30 days before the European Under-21 Football Championship opening match. Only 22 of the 35 players listed are authorised to take part in the final tournament and 3 of them must be goalkeepers.\n\nAs long as they are eligible, players can play at any level, making it possible to play for the U-21s, senior side and again for the U-21s, as Sotiris Ninis has done recently. It is also possible to play more than one country at youth level or different at youth level and different at senior level (providing the player is eligible). But a football player can represent only the senior national team that capped him first.\n\nAlso in existence are national teams for Under-20s (for non-UEFA tournaments), Under-19s and Under-17s. Greece also has a women's national team.\n\nHistory\nThe first time that Greece's national team of hopes were formed was in 1968, with the aim of participating in the first Balkan Youth Championship that took place at the Kaftanzoglio Stadium in Thessaloniki.\n\nIn their maiden match she played with the corresponding team in Turkey and it was a draw without goals.\n\nThe first eleven were the following: Tourkomenis, B. Intzoglou (59' Dimitriou), Chaliambalias, Kyriazis, Athanasopoulos, Karafeskos, Filakouris, Sarafis (46' Stoligas), K. Papaioannou, Koudas, Kritikopoulos (70' Alexiadis).\n\nIn the following years, Greece won twice the Balkan Youth Championship (1969 and 1971), and they fought twice (1988 and 1998) in the final of the UEFA European Under-21 Championship.\n\nCompetition Record\n\nAs of 16 November 2021\n\nUEFA European Under-21 Championship Record\n{\| class=\"wikitable\" style=\"text-align: center;\"\n\|-\n!Year\n!width=\"120\"\|Position\n\|-\n\| 1978\|\|Did Not Qualify\n\|-\n\| 1980\|\|Did Not Qualify \n\|-\n\| 1982\|\|Did Not Qualify \n\|- \n\| 1984\|\| Did Not Qualify\n\|- \n\| 1986\|\|\|Did Not Qualify\n\|-bgcolor=silver\n\| 1988\|\| \n\|-\n\| 1990\|\| Did Not Qualify\n\|-\n\| 1992\|\|Did Not Qualify\n\|-\n\| 1994\|\|Quarter finalist\n\|- \n\| 1996\|\| Did Not Qualify\n\|-bgcolor=silver \n\| 1998\|\|\n\|-\n\| 2000\|\|Play-Off for Final Tournament\n\|-\n\| 2002\|\|Quarter finalist\n\|- \n\| 2004\|\|Did Not Qualify \n\|- \n\| 2006\|\|Did Not Qualify\n\|- \n\| 2007\|\|Did Not Qualify\n\|-\n\| 2009\|\|Did Not Qualify\n\|-\n\| 2011\|\|Play-Off for Final Tournament\n\|-\n\| 2013\|\|Did Not Qualify\n\|-\n\| 2015\|\|Did Not Qualify\n\|-\n\| 2017\|\|Did Not Qualify\n\|-\n\| 2019\|\|Play-Off for Final Tournament\n\|-\n\| 2021\|\|Did Not Qualify\n\|-\n\|Total\|\|4/23\|}\n\nHonoursBalkan Youth Championship Winners (2): 1969, 1971\n\nValeriy Lobanovskyi Memorial Tournament\n Third place (2):, 2015, 2018\n\nResults and schedule\nThe following is a list of match results from the previous 12 months, as well as any future matches that have been scheduled.\n\n2021\n\n2022\n\nEuro 2023 Under-21 Championship qualification\n\n2023 UEFA European Under-21 Championship qualification\n\n Coaching staff \n\n Managers \nThe following table provides a summary of the complete record of each Greek manager including their results regarding European Under-21 Championship.Key: Pld–games played, W–games won, D–games drawn; L–games lost, %–win percentageLast updated: 16 November 2021. Statistics include official FIFA-recognised matches only.\n\nPlayers\nCurrent squad\nPlayers born on or after 1 January 1998 will be eligible until the completion of the 2021 UEFA European Under-21 Championship.\n\nThe following players were named in the squad for the 2023 UEFA European Under-21 Championship qualification, to be played at 12 November 2021.Caps and goals updated as of 8 October 2021. Names in bold denote players who have been capped for the senior team.Former squads\n2002 UEFA European Under-21 Championship squads – Greece\n1998 UEFA European Under-21 Championship squads – Greece\n1994 UEFA European Under-21 Championship squads – Greece\n\nSee also\nGreece national football team\nGreece national under-23 football team\nGreece national under-20 football team\nGreece national under-19 football team\nGreece national under-17 football team\n\nReferences\n\nExternal links\nGreece U-21 at HFF \nGreece U-21 at UEFA\nUEFA European U-21 Championship at uefa.com''\n\nEuropean national under-21 association football teams\nunder\nYouth football in Greece", "Pasi Hyvärinen (born 22 November 1987) is a volleyball player from Finland. He has played for Muuramen Lentopallo and Keski-Savon Pateri in the Finnish Championship league. For Season 2010–2011 he joined the GFCO Ajaccio team in French Ligue A. Hyvärinen is a member of Finland men's national volleyball team.\n\nCareer \n\nHyvärinen started his career in Varkaus. When he was Sixteen years old, he moved to Kuortane and attended to a high school specialised to sports. That year he also started to train with Finnish national juniors. He only lived and played in Kuortane for one year, before moving back to Varkaus where he started to play in Keski-Savon Pateri. Hyvärinen played two seasons for Pateri. After these two seasons he signed a contract with Muuramen Lentopallo. He play for Muurle in seasons 2008–2010.\n\nAfter season 2010 Hyvärinen said that he does not want anymore play in Muurle, because he did not like the clubs acting. Many fans were afraid of that Hyvärinen ends his career and it was close. Hyvärinen started play badminton and he joined in the few tournaments. Likely he got contract from France and played great season in France league.\n\nSeason 2011–12 Hyvärinen did not get a contract to foreign team. He did not play in open season but after many months he made contract in 1. division team Kyyjärven Kyky which is playing the second highest level in Finnish league. Hyvärinen plays as wing spiker in KyKy.\n\nNational team \n\nHyvärinen plays also for Finland national team. His rise to the national team was a sum of many things. Team Finlands coach Mauro Berruto did not invite him to the camp of the National team in Kuortane. When national team was training in Kuortane, Hyvärinen was also in there because he was in search for sport director school in Kuortane. Hyvärinen heard that the national team was training there, so he decide to call coach Berruto and asked from him is it was possible to start training with the team. Berruto accepted the proposition and Hyvärinen came to trainings. After the first time he attended in the team training, Berruto was really excited about his natural talent. He wanted him to the team full-time, and that was how his National career started.\n\nHyvärinen's first appearance in a Finnish national team was against Bulgaria World League 2008. He was the best player of the game. After that media was highly excited about him and praised Hyvärinen to be a sensation. Pasi played for the team last six World League games, and Finland won four from those. He had the best reception in the whole World League.\n\nBeach volley \n\nPasi Hyvärinen has also played actively beach volley for many years. His best result in beach volley is U-19 European Championships 5th place. His other achievements are 9th place in U-21 European Championships and 9th place in U-23 European Championships. In those competitions Hyvärinen was a few years younger than most other players. He has also won silver and bronze in Finnish Championships respectively in 2007 and 2006.\n\nAchievements\n\nPersonal \n Best reception in World League 2008\n Finland national team\n Finland juniors Champion 2007, 2008\n\nBeach volley \n U-19 European Championships 5. place\n U-21 European Championships 9. place\n U-23 European Championships 9. place\n Finland Pro-Tour silver 2006\n Finland Pro-Tour bronze 2007\n\nTeams \n 2005–2007 Keski-Savon Pateri\n 2007–2010 Muuramen Lentopallo\n 2010–2011 GFCO Ajaccio\n\nReferences\n\n1987 births\nLiving people\nPeople from Varkaus\nFinnish men's volleyball players" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.", "How did the team play under him?", "1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton." ]	C_fe3c443293474235a343121aa286af7a_0	Did they win?	3	Did the Tigers win the semi final?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	The Tigers won easily,	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	true	[ "The Gilleys Shield is a trophy symbolising the Open Women's Championship of the Softball Australia organisation (formerly known as the Australian Softball Federation). The competition's full name is the Mack Gilley Shield.\n\nHistory \nIn 1947, Queensland, New South Wales and Victoria participated in the first interstate softball competition in the country. The competition was eventually called the Mack Gilley Shield. For the 2009–2010 season the Shield will for the first time admit the New Zealand White Sox team to the competition.\n\nWinners \nBetween 1947 and 1968, New South Wales did not win a single Mack Gilley Shield. They finally won in 1969, repeating their first-place finish again in 1973, 1981 when they shared the title with Victoria, 1986, 1988, 1989, 1990, 1991 and 1993. Between the start of the competition and 1995, New South Wales won a total of nine Gilley Shields. This total ranked them third amongst all states.\n\nQueensland won the Mack Gilley Shield in 1963, 1966 and 1968. They won again in 1975, 1983, 1984, 1987, 1992 and 1994. In 2012, Queensland finished third in the Gilley Shield. Between the start of the competition and 1995, Queensland won a total of ten Gilley Shields. This total ranked them second amongst all states.\n\nVictoria won the Mack Gilley Shield in 1947, 1949, 1950, and 1951. They won it again in 1954, 1957 and 1958. They did not win in 1959 but won again in 1960, 1961 and 1962. Queensland won in 1963, but Victoria won again in 1964 and 1965 and 1967. Victoria went on to win again in 1970, 1971, 1972, 1974, 1976, 1977, and shared the title with New South Wales in 1981. They won again in 1982, and 1985. Between the start of the competition and 1995, Victoria won a total of twenty-two Gilley Shields if the 1981 tie with New South Wales is counted. This was twelve more than any other state.\n\nBetween 1947 and 1994, Tasmania did not win a single Mack Gilley Shield.\n\nSouth Australia won the Mack Gilley Shield in 1956. Between 1957 and 1994, they did not win another championship.\n\nWestern Australia won the Mack Gilley Shield in 1952 and 1953. They did not win in 1954 but won it again in 1955. They missed out in winning from 1956 to 1958, before winning again in 1959. They did not win another championship between 1960 and 1994.\n\nBetween 1947 and 1968, the Australian Capital Territory did not win the Mack Gilley Shield. They finally broke their losing streak by winning in 1978, 1979 and 1980. They did not win again between 1981 and 1994.\n\nBetween 1947 and 1968, the Northern Territory did not win the Mack Gilley Shield. They did not win between 1969 and 1994.\n\nHosting \nNew South Wales hosted the Mack Gilley Shield in Sydney in 1950, 1955, 1961, and 1968. Queensland hosted the Mack Gilley Shield in Brisbane in 1947, 1953, 1959 and 1966. Victoria hosted the Mack Gilley Shield in Melbourne in 1949, 1954, 1960 and 1967. Tasmania hosted the Mack Gilley Shield in Hobart in 1958, 1964 and 1985. South Australia hosted the Mack Gilley Shield in Adelaide in 1951, 1956, and 1962. Western Australia hosted the Mack Gilley Shield in Perth in 1952, 1957, and 1963. The Australian Capital Territory hosted the Mack Gilley Shield in Canberra in 1965. Between 1947 and 1968, the Northern Territory did not host the Mack Gilley Shield.\n\nGilleys Shield Awards \nThere are several awards connected with the Shield including the Midge Nelson Medal for the competition's most valuable player, the Lorraine Woolley Medal for pitching and the Sybil turner Medal for the best batting. In 1985, the Nelson Medal was won by K. Dienelt of the Northern Territory and the Woolley Medal was won by L. Evans of Victoria. In 1986, the Nelson Medal was won by H. Strauss of Queensland and the Woolley Medal was won by C. Bruce of New South Wales. In 1987, the Nelson Medal was won by K. Dienelt of the Northern Territory and the Woolley Medal was won by C. Cunderson of Queensland. 1988 was the first year all three medals were awarded. They were won respectively by L. Ward of New South Wales, M. Roche of New South Wales and V. Grant of Western Australia. In 1989, they respectively went to L. Loughman of Victoria, M. Rouche of New South Wales and L. Martin of South Australia. In 1990, they went to K, McCracken of Victoria, M. Rouche of New South Wales, and G. Ledingham of New South Wales.\n\nAWARD NAMES\nMidge Nelson Medal – Most Valuable Player\nRosemary Adey Medal – Rookie of the Year\nLorraine Woolley Medal – Best Pitcher\nSybil Turner Medal – Best Batter\n\nPrevious Individual Award Winners \n2003\nMost Valuable Player – Tanya Harding (QLD)\nRookie of the Year – Melanie Dunne (QLD)\nBest Pitcher – Kelly Hardie (QLD)\nBest Batter – Kerrie Sheehan (NSW)\n2004\nMost Valuable Player – Tanya Harding (QLD\nRookie of the Year – Kylie Cronk (QLD)\nBest Pitcher – Brooke Wilkins (QLD)\nBest Batter – Natalie Titcume (VIC)\n2005\nMost Valuable Player – Natalie Titcume (VIC)\nRookie of the Year – Krystle Rivers (WA)\nBest Pitcher – Jocelyn McCallum (QLD)\nBest Batter – Amanda Doman (QLD)\n2006\nMost Valuable Player – Amanda Doman (QLD)\nRookie of the Year – Nicole Smith (ACT)\nBest Pitcher – Kelly Hardie (QLD)\nBest Batter – Stacey Porter (NSW)\n\nSee also \nSoftball Australia\nASF National Championships\n\nReferences \n\nSoftball competitions in Australia", "The African National Congress was a political party in Trinidad and Tobago. The party first contested national elections in 1961, when it received just 0.5% of the vote and failed to win a seat. They did not put forward any candidates for the 1966 elections, but returned for the 1971 elections, in which they received 2.4% of the vote, but again failed to win a seat as the People's National Movement won all 36. The party did not contest any further elections.\n\nReferences\n\nDefunct political parties in Trinidad and Tobago" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.", "How did the team play under him?", "1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.", "Did they win?", "The Tigers won easily," ]	C_fe3c443293474235a343121aa286af7a_0	What else did he achieve as coach?	4	In addition to the Tigers win, what else did Francis Bourke achieve as coach?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	His winning rate over the two seasons was a very reasonable 56.5%	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	true	[ "SOARA (Situation, Objective, Action, Results, Aftermath) is a job interview technique developed by Hagymas Laszlo, Professor of Language at the University of Munich, and Alexander Botos, Chief Curator at the National Institute of Economic and Social Research. It is similar to the Situation, Task, Action, Result technique. In many interviews, SOARA is used as a structure for clarifying information relating to a recent challenge.\n\nDetails\n\n Situation: The interviewer wants you to present a recent challenge and situation you found yourself in.\n Objective: What did you have to achieve? The interviewer will be looking to see what you were trying to achieve from the situation.\n Action: What did you do? The interviewer will be looking for information on what you did, why you did it and what were the alternatives.\n Results: What was the outcome of your actions? What did you achieve through your actions and did you meet your objectives.\n Aftermath: What did you learn from this experience and have you used this learning since?\n\nJob interview", "Leimapokpam Nandakumar Singh is an indian football manager and currently work as the head coach I-League club TRAU FC.\n\nCoaching career\nHe started his professional career with Royal Wahingdoh as an assistant in 2014 he achieve promotion to i league with club as a manager. In 2017 he appointed as the head coach of second dovison club TRAU and in 2019 he achieved promotion with the club. He later became appointed as the technical director of the club and after the dismissal of the head coach he return to the head coach position.\n\nHonours\n\nManager\n\nRoyal Wahingdoh\nI-League 2nd Division\n Winners (1): 2014\n\nTRAU\nI-League 2nd Division\n Winners (1): 2018–19\n\nReferences\n\nLiving people\nI-League managers\n1960 births\nPeople from Manipur\nIndian football managers\nIndian sports coaches\nTRAU FC managers" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.", "How did the team play under him?", "1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.", "Did they win?", "The Tigers won easily,", "What else did he achieve as coach?", "His winning rate over the two seasons was a very reasonable 56.5%" ]	C_fe3c443293474235a343121aa286af7a_0	How many seasons did he coach for?	5	How many seasons did Francis Bourke coach for?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	two seasons	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	true	[ "Sverre Andersen (9 October 1936 – 1 November 2016) was a Norwegian footballer. He made his debut for Viking FK in 1952 as a goalkeeper, and played his last game in 1971. He played a total of 482 games for Viking (262 in Norwegian league). For many years, he was considered the best goalkeeper in Norway. He won goalkeeper of the year in 1962, 1963, 1965 and 1968 in the VG Awards.\n\nNational team\nSverre Andersen made his Norway debut on 30 June 1954 when he played for the U19 in a game against Denmark in Odense. On 19 September he made his debut for U21 in a game against Sweden. He played a total of 3 games for the U21s. On 26 August 1956, he made his debut for the main team against Finland which ended 1-1. He played a total of 41 games for Norway. His last game was against Poland on 9 June 1968 which Norway lost 1–6.\n\nCoach career\nAndersen was also coach of Viking for many seasons, even while he was still a player. He was first trainer of Viking's team in 1960, later from 1966–1970, in 1973 and in autumn 1985. In 1973, he led Viking to the title. He was also goalkeeper coach for Viking for one season, and for many seasons was the coach of Viking's junior team.\n\nReferences\n\n1936 births\n2016 deaths\nNorwegian footballers\nNorway international footballers\nNorwegian football managers\nViking FK players\nViking FK managers\nSportspeople from Stavanger\nAssociation football goalkeepers\nDeaths from cancer in Norway", "The St. Louis Cardinals, based in St. Louis, Missouri, are a professional baseball franchise that compete in the National League of Major League Baseball (MLB). The club employs coaches who support – and report directly to – the manager. Coaches for various aspects of the game, including pitching, hitting, baserunning and fielding, give instruction to players to assist them in exercising the major disciplines that must be successfully executed to compete at the highest level. These specialized roles are a relatively new development, as coaches initially did not have specific roles and instead had titles such as \"first assistant\", \"second assistant\", etc. St. Louis Cardinals coaches have played an important role in the team's eleven World Series titles. Many are retired players who at one time played for the team. Coaching is often part of the path for Major League managerial hopefuls, as a coach's previous experiences typically include managing and/or coaching at the minor league level. Charley O'Leary and Heinie Peitz, both former Cardinals players, became the first coaches the Cardinals employed as positions separate from the manager in 1913.\n\nThe longest-tenured coach in Cardinals' franchise history is Red Schoendienst, who has filled a variety of roles for the St. Louis Cardinals. First, he played 15 seasons as a second baseman for the Cardinals before becoming an on-field coach in 1962 in his penultimate season as an active player. He continued to coach through 1964, and the next season, became the Cardinals' manager. Returning as an on-field coach for the Cardinals in 1979, Schoendienst remained in that capacity until 1995. From 1996 until his death in 2018, he served as a special assistant to the general manager as a coaching advisor. In all, Schoendienst coached for St. Louis for 38 total seasons. He has also worn a St. Louis Major League uniform in eight different decades, won four World Series titles as part of on-field personnel and two more World Series titles since moving into his role as an advisor.\n\nThe current longest-tenured coach through 2015 is third-base coach José Oquendo, who has been coaching for the Cardinals since 1999. The latest addition is assistant hitting coach Bill Mueller, who was hired before the 2015 season. The longest-tenured on-field coach in franchise history is Buzzy Wares; he is also the only coach for the Cardinals with a consecutive on-field season streak of 20 or more seasons with 23. Schoendienst is the only other with 20 or more total seasons; he also had a streak of 17 consecutive seasons. Dave Duncan and Dave McKay are both tied for third with 16 total seasons and both with a streak of 16 consecutive seasons. Jose Oquendo is also tied with Duncan and McKay with 16 years during the 2015 season as it marks his 16 consecutive season as an on field coach. Others with ten or more seasons include Mike González, Johnny Lewis, Marty Mason, Gaylen Pitts and Dave Ricketts. Dal Maxvill is the only former Cardinals coach to have become a general manager for the Cardinals. Ray Blades, Ken Boyer, González, Johnny Keane, Jack Krol, Marty Marion, Bill McKechnie, Schoendienst and Harry Walker have all also managed the Cardinals. Cardinals coaches who have been elected to the National Baseball Hall of Fame and Museum include Bob Gibson, McKechnie and Schoendienst.\n\nCurrent coaching staff\n Manager: Oliver Marmol (2022–present)\n Bench Coach: Skip Schumaker (2022–present)\n Pitching Coach: Mike Maddux (2018–present)\n Hitting Coach: Jeff Albert (2019–present)\n Assistant Hitting Coach: Turner Ward (2022–present)\n First Base Coach: Stubby Clapp (2019–present)\n Third Base Coach: Ron 'Pop' Warner (2019–present)\n Bullpen Coach: Bryan Eversgerd (2018–present)\n Assistant Coach: Willie McGee (2018–present)\n Bullpen Catcher: Jamie Pogue (2012–present)\n Bullpen Catcher: Kleininger Teran (2015–present)\n\nLists of coaches\n\nBench coaches\n\nHitting coaches\n\nAssistant hitting coaches\n\nPitching coaches\n\nBullpen coaches\n\nFirst base coaches\n\nThird base coaches\n\nAssistant coaches\n\nUnspecified roles\n\nRelated lists\n List of St. Louis Cardinals owners and executives\n List of St. Louis Cardinals managers\n List of St. Louis Cardinals seasons\n\nSee also\n St. Louis Cardinals Manager and Coaches\nCoach (baseball)\n\nReferences\n\nSource notes\n\nBibliography\n \n\nLists of Major League Baseball coaches\nCoaches\nSt. Louis Cardinals coaches" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.", "How did the team play under him?", "1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.", "Did they win?", "The Tigers won easily,", "What else did he achieve as coach?", "His winning rate over the two seasons was a very reasonable 56.5%", "How many seasons did he coach for?", "two seasons" ]	C_fe3c443293474235a343121aa286af7a_0	When did he retire?	6	When did Francis Bourke retire?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	CANNOTANSWER	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	false	[ "Øyvind Gjerde (born 18 March 1977) is a Norwegian former footballer who played for Molde. He has previously played for the clubs Åndalsnes, Lillestrøm and Aalesund.\n\nAfter the 2010 season, when he did not get a new contract with Molde after 7 years in the club, Gjerde announced that he would most likely retire.\n\nReferences \n\n1977 births\nLiving people\nPeople from Møre og Romsdal\nNorwegian footballers\nEliteserien players\nNorwegian First Division players\nAalesunds FK players\nLillestrøm SK players\nMolde FK players\n\nAssociation football defenders", "Max Mnkandla is the President of the Zimbabwe Liberators' Peace Initiative. He fought for the Zimbabwe People's Revolutionary Army (ZIPRA) in the Rhodesian Bush War.\n\nHis father, Siqanywana, died in the Gukurahundi massacres of the 1980s. When Information Minister Nathan Shamuyarira defended the massacres in October 2006, Mnkandla said Shamuyarira's comments show he is \"not only suffering from 1880s hangover — the feeling that the Ndebele also did the same to the Shonas — it also shows that Shamuyarira is now old and should retire.\"\n\nReferences\n\nYear of birth missing (living people)\nLiving people\nZimbabwe People's Revolutionary Army personnel\nZimbabwean politicians" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.", "How did the team play under him?", "1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.", "Did they win?", "The Tigers won easily,", "What else did he achieve as coach?", "His winning rate over the two seasons was a very reasonable 56.5%", "How many seasons did he coach for?", "two seasons", "When did he retire?", "I don't know." ]	C_fe3c443293474235a343121aa286af7a_0	Are there any other interesting aspects about this article?	7	In addition to coaching, was there any other interesting aspects about Francis Bourke in this article?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	It seemed that his hard-training style was not appreciated by all of his charges.	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	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" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.", "How did the team play under him?", "1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.", "Did they win?", "The Tigers won easily,", "What else did he achieve as coach?", "His winning rate over the two seasons was a very reasonable 56.5%", "How many seasons did he coach for?", "two seasons", "When did he retire?", "I don't know.", "Are there any other interesting aspects about this article?", "It seemed that his hard-training style was not appreciated by all of his charges." ]	C_fe3c443293474235a343121aa286af7a_0	why was his style not appreciated?	8	why was Francis Bourke style not appreciated?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis.	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	true	[ "Qin Guan (; 1049 – c. 1100) was a Chinese poet of the Song Dynasty. His courtesy name was Shaoyou (). Taixu was also his courtesy name. His pseudonym was Huaihai Jushi () and Hangou Jushi (). He was honored as one of the \"Four Scholars of Sumen\" (), along with Huang Tingjian, Zhang Lei () and Chao Buzhi (). The style of his poetry-writing is subtle, graceful, and restrained; he was famous for love-poem writing. His writing style of ci was classified into the Wanyue School, most works of which are subtle and concise. His talent was greatly appreciated by Su Shi, one of the greatest poets during the Song Dynasty. His most famous verse is, \"If the two hearts are united forever, why do the two persons need to stay together—day after day, night after night?\" ( or The Weaver Girl and the Cowherd).\n\nReferences\nhttp://www.chinapoesy.com/SongCi_qinguan.html\nhttps://web.archive.org/web/20110920025121/http://www.yktvu.net/tvuf9/dd0/gexizhuye/zwx/wxxs/tssc/qg.htm\n\nSee also \n The Weaver Girl and the Cowherd\n\n1049 births\n1100 deaths\n11th-century Chinese poets\nPoets from Jiangsu\nSong dynasty poets\nWriters from Yangzhou", "In American slang, the term inside baseball refers to the minutiae and detailed inner workings of a system that are only interesting to, or appreciated by, experts, insiders, and aficionados. The phrase was originally used as a sports metaphor in political contexts, but has expanded to discussions of other topics as well. Language commentator William Safire wrote that the term refers to details about a subject that require such a specific knowledge about what is being discussed that the nuances are not understood or appreciated by outsiders.\n\nEtymology\nThe term originated in the 1890s referring to a particular style of playing the game which relied on singles, walks, bunts, and stolen bases rather than power hitting. Within a few decades the term was being used to mean highly specialized knowledge about baseball, and by the 1950s it was being applied to politics.\n\nReferences\n\nEnglish phrases\nAmerican slang\nPolitical terminology of the United States" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.", "How did the team play under him?", "1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.", "Did they win?", "The Tigers won easily,", "What else did he achieve as coach?", "His winning rate over the two seasons was a very reasonable 56.5%", "How many seasons did he coach for?", "two seasons", "When did he retire?", "I don't know.", "Are there any other interesting aspects about this article?", "It seemed that his hard-training style was not appreciated by all of his charges.", "why was his style not appreciated?", "Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis." ]	C_fe3c443293474235a343121aa286af7a_0	Was there a crisis?	9	Was there a crisis about Francis Bourke's position?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so.	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	true	[ "Sri Lanka, from 3 November 2017 until 11 November 2017, faced a fuel shortage when a substandard fuel shipment was rejected which caused a depletion in reserves due to the general public fearing of a prolonged duration of crisis. However, there was only a shortage of petrol not diesel or kerosene.\n\nEvents \nThe Sri Lanka fuel crisis began on 3 November 2017 when rumours started spreading that a fuel shipment belonging to Lanka IOC (Indian Oil Company) was rejected. Later on the rumour was confirmed as legitimate and the reason given was that the fuel in the rejected shipment was not up to standards. Arjuna Ranatunga the Minister of Petroleum Resources Development on the next day addressed the situation to the media. However the Ministry of Petroleum Resources Development announced that there was 10,000 metric tonnes fuel in the reserves to last till 9 November 2017 but the leader of the Ceylon Petroleum Union, Asanka Ranawala said the contrary to this. Due to development of the tense situation the general public started panic buying causing the reserves to deplete faster than expected. However the crisis was brought to a stop after the ship Nevaska Lady on 11 November 2017 with 40,000 metric tonnes of fuel which was reported as being sufficient for twenty days.\n\nOther causes \nOther than the substandard fuel rejected being the main reason for the crisis there were several other events that worsened the crisis during this time period.\n Delay of other fuel ship - the rejected fuel shipment arrived in Sri Lanka on 15 October 2017 and on 17 October 2017 was rejected however this did not cause any panic as \"Nevaska Lady\" the fuel ship which was supposed to arrive on 4 November 2017 for the CPC but even this ship had to extend its arrival date to 11 November 2017. This is what led to the rumors regarding the fuel shortage originated from which made the public panic\n Sapugaskanda Oil Refinery Shutdown - another issue faced in this crisis was the power loss which caused the Sapugaskanda Oil Refinery to be shut down for almost three days. The Sapugaskanda Oil Refinery is the only Oil Refinery in the whole island which caused an outrage among general public after what happened. \n No replacement for rejected stock - The Lanka IOC informed that they were unable to replace the rejected stock and continued to harbor the rejected stock in the Trincomalee harbor. This was the initial problem which fused the shortage and caused the crisis.\n\nImplemented solutions \nMany steps were taken by the Ministry of Petroleum Resources Development to overcome the problem until any fuel shipments arrived\n Purchasing from Spot Market - Fuel was purchased from the Spot Market to immediately recover from the shortage. An amount of 8,500 barrels were purchased from the spot market whereas the price have been concealed from the public.\n Releasing petrol station reserves - After the demand for petrol went high the Ministry of Petroleum ordered fuel stations to give put from their reserves without any hesitation.\n\nAftermath \nA cabinet sub committee was appointed by the President of Sri Lanka Maithripala Sirisena in order to investigate the crisis on the 7 November 2017. According to the report submitted by the committee on 17 November 2017 the main reason for the crisis was the failure to maintain proper fuel stocks according to the average use and another reason was the failure to report the dire situation to higher authorities on time causing the whole situation to go out of hand. However, according to the officials the report is inconclusive and the sub committee has also requested recruiting technical officers to get a more detailed report.\n\nReferences \n\n2017 in Sri Lanka\nEnergy in Sri Lanka\nEnergy crises", "The Kristin Brooks Hope Center (KBHC), a 501(c)(3) public benefit corporation, was founded on May 20, 1998, by H. Reese Butler II after the death of his wife, Kristin Brooks Rossell Butler, who died by suicide in 1998. Realizing an urgency in this high profile public health crisis, which kills more than 34,000 Americans per year, KBHC was founded by her survivor with funds from the death benefit provided by her employer. Kristin suffered severe postpartum psychosis (PPP) after losing her unborn child on December 5, 1997. Her struggle with PPP was brought on by the prescription drug Zoloft which resulted in an SSRI syndrome. KBHC is more commonly known as the creator of the first network of suicide hotlines in the United States networked under the toll free number 1-800-SUICIDE (784-2433).\n\nHistory \n\nH. Reese Butler II started the Kristin Brooks Hope Center after he received a check from his wife's employer which was a death benefit amounting to one years salary. The amount was $34,017. Reese decided to donate the money to an organization focused on preventing suicide as a result of postpartum depression or psychosis. Upon learning there was no such organization in 1998 he decided donate it to an organization that ran a national suicide hotline for people in crisis. Upon learning that in 1998 there was no national suicide hotline linking the more than 800 community based suicide crisis hotlines he founded the Kristin Brooks Hope Center and began linking those community crisis hotlines through 1-888-SUICIDE (784-2433). 1-888-SUICIDE and 1-800-SUICIDE (784-2433) were both part of the National Hopeline Network from its activation September 16, 1998, until the FCC temporarily reassigned it in January 2006. The US Surgeon General David Satcher dedicated 1-888-SUICIDE (784-2433) on May 7, 1999, during a press conference organized by H. Reese Butler II. The event was filmed by Dempsey Rice, a Brooklyn based filmmaker (Daughter One Productions), for a project she was working on for HBO. The press event wrapped up with Jock Bartley, founding member of Firefall, singing \"Call On Me\" written for a 1998 compilation CD to benefit the Colorado based Pikes Peak Mental Health Crisis Center. Bartley introduced H. Reese Butler II to Jonathan Cain of Journey with the hopes of creating a benefit concert to pay the phone bill for 1-800-SUICIDE (784-2433). The concert took place on November 12, 1999, at the Warfield in San Francisco. It was called \"Reason to Live\" and featured Firefall as the opening act with Journey headlining. Bev Cobain, cousin to Kurt Cobain and author of the book \"When Nothing Matters Anymore\" was the Master of Ceremonies for the concert.\n\nHELP Grant \n\nDuring the three year federal grant known as the HELP Project, two separate studies to determine the effectiveness of suicide hotlines were conducted using 1-800-SUICIDE (784-2433) to conduct the evaluations. In the credits for the Mishara led study he specifically thanks Reese Butler, the Kristin Brooks Hope Center staff, Jerry Reed, and the Directors and helpers at the crisis centers who participated in this study.\n\nSee also \n Crisis hotline\n List of suicide crisis lines\n Crisis Text Line\n National Suicide Prevention Lifeline (1-800-273-8255)\n Samaritans (charity)\n The Trevor Project\n Trans Lifeline\n\nReferences\n\nExternal links \n https://www.imalive.org/about-kbhc/\n\nSuicide prevention\nCrisis hotlines" ]
[ "Francis Bourke", "Coach", "Where did he coach?", "Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road.", "How did the team play under him?", "1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton.", "Did they win?", "The Tigers won easily,", "What else did he achieve as coach?", "His winning rate over the two seasons was a very reasonable 56.5%", "How many seasons did he coach for?", "two seasons", "When did he retire?", "I don't know.", "Are there any other interesting aspects about this article?", "It seemed that his hard-training style was not appreciated by all of his charges.", "why was his style not appreciated?", "Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis.", "Was there a crisis?", "Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so." ]	C_fe3c443293474235a343121aa286af7a_0	What did he do next?	10	What did Francis Bourke do next?	Francis Bourke	Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% CANNOTANSWER	CANNOTANSWER	Francis William Bourke (born 2 April 1947) is a former Australian rules footballer and coach who represented Richmond in the Victorian Football League (VFL) between 1967 and 1981, and coached the club in 1982 and 1983. A key figure in a successful period at Richmond, Bourke is a five-time premiership player who was honoured with selection in the AFL's Team of the Century. His is the only family to have provided three generations of players for the Richmond senior team: Bourke's father, Frank, played 16 matches in the 1940s and his son, David played 85 games between 1995 and 2001. In 2009 The Australian newspaper nominated Bourke as one of the 25 greatest footballers never to win a Brownlow Medal. Early life Bourke's father, Frank, was serving in the RAAF and on leave in Melbourne when he played a solitary game for Richmond in 1943. A tall (193 cm) and lean (85 kg) full forward with an excellent reputation in country football, Frank returned to the city after the war and resume his playing career with Richmond. In the opening weeks of the 1946 season Frank kicked five or more goals six times in the first seven matches to lead the VFL goalkicking table. Injury curtailed further progress. Bourke was born the following year in Caulfield. Bourke was raised on the family's dairy farm, about 40 km north west of Shepparton in northern Victoria, where his father was appointed captain-coach of his home town team, Nathalia. He attended Assumption College, a Catholic school with a reputation as a nursery for great footballing talent. In the following decades, Assumption was to produce dozens of footballers for the VFL/AFL and Bourke would go on to be, arguably, its greatest sporting product. His success was achieved despite a severe setback at age 14 when doctors detected a heart murmur and recommended that he give up playing sport. After a season in Assumption's first team in 1963, Bourke left school aged 16 and returned to Nathalia. He turned out for the local team, following in the footsteps of his father by playing as a key forward. However, the young Bourke was physically very different from his father, standing 185 cm and eventually filling out to a solid, muscular 85 kg. In his first senior season, Bourke was the team's leading goalkicker and followed up by winning the club best and fairest in 1965. These performances hadn't escaped the eye of Richmond secretary Graeme Richmond. Aware of the youngster's pedigree, Richmond arranged for Bourke to play a handful of matches with the Tigers' seconds in 1965. Bourke didn't qualify as a Richmond player under the father and son rule (Frank Bourke hadn't played enough senior games), but few of the other VFL clubs had shown interest in him. Once again, in 1966, Bourke spent the season playing for Nathalia and came down to the city on match permit to play with the Richmond seconds on a handful of occasions. The quiet country recruit At this point, Bourke was not confident of making the grade as a league footballer. He was convinced to move to Melbourne for the 1967 season by the prospect of playing a few senior games, enough to make him credentialled to coach country clubs. As it proved, Bourke's timing was exquisite. He debuted for Richmond as a second rover (to Kevin Bartlett), but after a few games was switched to a wing, forming a brilliant centreline with Dick Clay and Bill Barrot. A mobile player with good marking skills, Bourke was part of the experiment by Richmond to use tall players on the wing as part of their long-kicking game plan. Within a few years, most men playing on the wing in league football would be of similar physique to Bourke. By the end of the season, Bourke's thoughts about returning to the bush had evaporated. Richmond won its first premiership in 24 years and the centreline of Bourke-Barrot-Clay was acknowledged as the best in the game and a key reason for the Tigers' success. The following season, Bourke made his debut for Victoria and finished third in the best and fairest. Another flag followed in 1969, then Bourke had his best season in 1970, winning his only best and fairest award. "St Francis" Bourke's name became a by-word for courage. His persistence was recognised by Richmond when it awarded him the club's "Most Determined" trophy in 1967, 1972, 1977 and 1980. Just as he had continued to play after being warned not to when a teenager, Bourke often played with injuries that would have incapacitated others. In 1971, in a game against Hawthorn, he unwittingly broke a bone in his leg, but continued to play until the extent of his injury was realised, then managed to walk off the ground. The injury, serious enough to keep him off the field for the next nine games, became essential to the legend of Bourke's determination. He was also a great finals player, and received a trophy as best player in Richmond's unsuccessful finals campaign of 1972. Following their thrashing in the 1972 Grand Final, the Tigers decided that the team's defence required bolstering, so Bourke was shifted to half back. Going into the 1973 finals, Bourke suffered a severe knee injury that put his career in doubt, yet, despite running with a visible limp, was a stand out in the Grand Final playing on Carlton's matchwinner, Alex Jesaulenko. Richmond won back-to-back flags in 1973–1974 and Bourke was one of the team's stars. Captain, then elder statesman In 1976, Bourke was appointed captain of the club and he responded with a great season, although the team slipped down the ladder. He finished third in the Brownlow medal and third in the club's best and fairest award, demonstrating a phenomenal consistency; in nine seasons between 1968 and 1976, Bourke was placed seven times in the best and fairest count. However, the first signs of advancing age showed the following year. Bourke was so disappointed with his form at one point he privately contemplated retirement, but he continued on and proved his mettle by captaining Victoria against West Australia and leading Richmond into the finals. Key position defenders were in short supply at Richmond, so Bourke was forced to play at centre half back even though he lacked height for the position. At the end of the season, he decided to resign the captaincy in an effort to prolong his career. This decision paid off in 1980, when the Tigers returned to power and again won the premiership. Due to his slowing leg speed, Bourke was now at full back but still a formidable opponent. Two weeks before the finals, Bourke entered football folklore in a match at Arden Street against North Melbourne. Bourke received an accidental finger in the eye, which quickly filled with blood that poured down his face and on to his guernsey. At the time there was no "blood rule" (requiring bleeding players to leave the field until the bleeding is stopped) and Bourke shifted to the forward line. Although he could barely see through the mass of blood, he dived full-length to take a chest mark, then kicked an important goal to ensure Richmond had a narrow win. Bourke, along with Kevin Bartlett, played in all five Richmond premierships of the era, which constitutes the club record. Aged 34, he decided to soldier on in 1981 and became only the third Tiger to play 300 games. However, his form was not always equal to the personal standard that he had set and when it became obvious that Richmond wouldn't make the finals to defend the premiership, Bourke retired. Note that changes to the way records are compiled was made after Bourke's retirement, and his official games tally has been reduced to an even 300, of which 23 were finals and six Grand Finals. Coach Just months after his playing retirement, Bourke was controversially pitched into the coaching position at Punt Road. The Tigers had decided to sack Tony Jewell, a premiership teammate of Bourke, just twelve months after he coached Richmond to the 1980 premiership. Although few doubted that Bourke was coaching material, the nature of his appointment and his lack of coaching experience at any level were significant hurdles to overcome. However, in 1982 Bourke took the Tigers to only their third minor premiership since the war and impressed critics with a brilliant tactical display in the semi final against Carlton. Bourke made a series of positional changes at the beginning of the game and ordered his men to slow down the Carlton play-on game, giving away fifteen-metre penalties as necessary. The Tigers won easily, and Bourke became one of only a handful of coaches to make the Grand Final in his first season. The dream debut of a premiership was not to be. In the 1982 VFL Grand Final, Richmond led by 11 points at half time, only for Carlton to kick five unanswered goals in the third quarter and run away with the premiership by 18 points. During the off-season, the Tigers suffered an exodus of disgruntled star players that rocked the club and lost nine of the first eleven games in 1983. Media speculation about the security of Bourke's position began in earnest, and few believed the club when Richmond denied that there was an ongoing crisis. Although the team improved in the second half of the season, further player departures were mooted if Bourke remained as coach. It seemed that his hard-training style was not appreciated by all of his charges. Reluctantly, Bourke tendered his resignation at the end of the season, well aware that he would probably have been sacked had he not done so. His winning rate over the two seasons was a very reasonable 56.5% Third generation Unfortunately, Bourke became one of the club's many great servants who were treated poorly by Richmond and endured a period of estrangement from Punt Road. Bourke had a stint as a specialist coach for Melbourne during the 1980s, and finally returned to Richmond in 1992 as chairman of selectors. He stood down from the position when his son David (born 9 January 1976) was recruited by the Tigers as a father-son selection in the 1994 AFL draft. At 193 cm and just 80 kg, David was built like his grandfather. His career suffered from an inability to bulk up to a heavier weight, and he was frustratingly inconsistent. David inherited his father's fanatical desire to win the ball; however, his body wasn't built to take the punishment that this approach entailed. After 85 games in seven seasons (many of which started on the bench), David Bourke was traded to the Kangaroos for the 2002 season, but only managed one game in blue and white. For many years, Bourke was involved in the pub trade and was a more than useful cricketer with the Camberwell Cricket Club. In 1996, his ground-breaking play as a wingman earned him that position in the AFL's Team of the Century. He is also a hall-of-famer and life member of the AFL. Richmond have honoured him on a number of occasions, most notably in 2005 when he was named as one of four "immortals" of the club. The annual award for "Best Clubman", bestowed during the club's Best and Fairest count is named in his honour. In September 2007 he was the subject of a Toyota Legendary Moments advertisement with Stephen Curry and Dave Lawson. The advertisement pays reference to the time when Bourke played an entire quarter with a broken leg, and also to when he collided with a teammate which opened up a cut to his head that bled profusely into his eye. Although Bourke could hardly see, he managed a spectacular diving chest mark and converted the kick to a match winning goal. See also Australian Football Hall of Fame References External links Richmond Card Collection Francis Bourke Tigerland Hall of Fame – Players Francis Bourke's profile on the official website of the Richmond Football Club 1947 births Australian Football Hall of Fame inductees Living people Richmond Football Club players Richmond Football Club Premiership players Richmond Football Club coaches Jack Dyer Medal winners Australian rules footballers from Victoria (Australia) Nathalia Football Club players Five-time VFL/AFL Premiership players	false	[ "Do You Know What I'm Going To Do Next Saturday? is a 1963 children's book published by Beginner Books and written by Helen Palmer Geisel, the first wife of Theodor Seuss Geisel (Dr. Seuss). Unlike most of the Beginner Books, Do You Know What I'm Going To Do Next Saturday? did not follow the format of text with inline drawings, being illustrated with black-and-white photographs by Lynn Fayman, featuring a boy named Rawli Davis. It is sometimes misattributed to Dr. Seuss himself. The book's cover features a photograph of a young boy sitting at a breakfast table with a huge pile of pancakes.\n\nActivities mentioned in the book include bowling, water skiing, marching, boxing, and shooting guns with the United States Marines, and eating more spaghetti \"than anyone else has eaten before.\n\nHelen Palmer's photograph-based children's books did not prove to be as popular as the more traditional text-and-illustrations format; however, Do You Know What I'm Going To Do Next Saturday received positive reviews and was listed by The New York Times as one of the best children's books of 1963. The book is currently out of print.\n\nReferences\n\n1963 children's books\nAmerican picture books", "Daniel S. Burt is an American author and literary critic.\n\nCareer\n\nDaniel S. Burt, Ph.D. received his doctorate in English and American Literature with a specialization in Victorian fiction from New York University. He taught undergraduate- and graduate-level courses in writing and literature at New York University, Wesleyan University, Trinity College, Northeastern University, Wentworth Institute of Technology, and Cape Cod Community College. At Wentworth Institute of Technology, he served as a dean for almost a decade. During his time at New York University, he was director of the NYU in London program, wherein he traveled with students to Russia, Spain, Britain and Ireland. \n\nSince 2003, Burt has served as the Academic Director for the Irish Academic Enrichment Workshops, which are held in Ireland every summer.\n\nBibliography\n\nThe Literary 100: A Ranking Of The Most Influential Novelists, Playwrights, And Poets Of All Time. Checkmark Books. October 1, 1999.\nThe Biography Book: A Reader's Guide To Nonfiction, Fictional, And Film Biographies Of More Than 500 Of The Most Fascinating Individuals Of All Time. Oryx Press. February 1, 2001.\nThe Novel 100: A Ranking Of The Greatest Novels Of All Time. Checkmark Books. November 1, 2003.\nThe Chronology of American Literature: America's Literary Achievements from the Colonial Era to Modern Times. Houghton Mifflin Harcourt. February 10, 2004.\nThe Drama 100: A Ranking of the Greatest Plays of All Time. Checkmark Books. December 1, 2007.\nThe Handy Literature Answer Book: An Engaging Guide to Unraveling Symbols, Signs and Meanings in Great Works with Deborah G. Felder. Visible Ink Press. July 1, 2018.\n\nWhat Do I Read Next? Series \n\n What Historical Novel Do I Read Next? Gale Cengage.1997.\nWhat Do I Read Next? 2000, Volume 1 with Neil Barron. Gale Cengage. June 1, 2000.\nWhat Fantastic Fiction Do I Read Next? 2001, Volume 1 with Neil Barron and Tom Barton. Gale Cengage. June 1, 2001. \nWhat Do I Read Next? 2003, Volume 2 with Neil Barron and Tom Barton. Gale Cengage. October 17, 20013.\nWhat Do I Read Next? 2005, Volume 1 with Neil Barron and Tom Barton. Thomson Gale. May 27, 2005.\nWhat Do I Read Next? 2005, Volume 2 with Neil Barron. Gale. October 21, 2005. \nWhat Do I Read Next? 2006, Volume 1 with Neil Barron and Tom Barton. Thomson Gale. May 25, 2006.\n What Do I Read Next? 2007, Volume 1 with Natalie Danford and Don D'Ammassa. Gale Cengage. June 8, 2007.\nWhat Do I Read Next? 2007, Volume 2: A Reader's Guide to Current Genre Fiction with Don D'Ammassa, Natalie Danford, Stefan R. Dziemianowicz, Jim Huang, and Melissa Hudak. Gale Cengage. October 19, 2007. \nWhat Do I Read Next? 2008, Volume 1 with Natalie Danford and Don D'Ammassa. Gale. May 23, 2008. \n What Do I Read Next? 2009. Volume 1 with Michelle Kazensky, Marie Toft, and Hazel Rumney. Gale Cengage. June 12, 2009.\nWhat Do I Read Next? 2010, Volume 1 with Neil Barron. Gale. 2010.\n\nReferences\n\nExternal links \nBibliography on GoodReads\n\nYear of birth missing (living people)\nLiving people\nAmerican male non-fiction writers\nAmerican literary critics\nNew York University alumni\nWesleyan University faculty" ]
[ "Mumtaz Mahal", "Mughal empress" ]	C_169ee9f3b1a14e0fa0a232da507ecea9_0	What is Mughal empress?	1	What is the Mughal empress?	Mumtaz Mahal	Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death), nonetheless Shah Jahan bestowed her with luxuries that no other empress was given before her. For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose water fountains of its own. Each wife of the Mughal emperor was given regular monthly allowance for her gastos (housekeeping or travelling expenses). The highest allowance on record is 10 lakh rupees per year given to Mumtaz Mahal under Shah Jahan. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state and she served as his close confidante and trusted adviser. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land -- his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress' favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. CANNOTANSWER	Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World")	Mumtaz Mahal (, ), born Arjumand Banu Begum (; 27 April 1593 – 17 June 1631) was the empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned by her husband to act as her tomb. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility. She was the daughter of Abu'l-Hasan Asaf Khan, a wealthy Persian noble who held high office in the Mughal Empire, and the niece of Empress Nur Jahan, the chief wife of Emperor Jahangir and the power behind the emperor. She was married at the age of 19 on 10 May 1612 or 16 June 1612 to Prince Khurram, later known by his regnal name Shah Jahan, who conferred upon her the title "Mumtaz Mahal" (Persian: the exalted one of the palace). Although betrothed to Shah Jahan since 1607, she ultimately became his second wife in 1612. Mumtaz and her husband had 14 children, including Jahanara Begum (Shah Jahan's favourite daughter), and the Crown prince Dara Shikoh, the heir-apparent, anointed by his father, who temporarily succeeded him, until deposed by Mumtaz Mahal's sixth child, Aurangzeb, who ultimately succeeded his father as the sixth Mughal emperor in 1658. Mumtaz Mahal died in 1631 in Burhanpur, Deccan (present-day Madhya Pradesh), during the birth of her 14th child, a daughter named Gauhar Ara Begum. Shah Jahan had the Taj Mahal built as a tomb for her, which is considered to be a monument of undying love. As with other Mughal royal ladies, no contemporary likenesses of her are accepted, but numerous imagined portraits were created from the 19th century onwards. She is wrongly referred to as "Taj Bibi" which was the corrupted of her title Mumtaz and was in reality the title of her mother-in-law, Jagat Gosain. Family and early life Mumtaz Mahal was born as Arjumand Banu on 27 April 1593 in Agra to Abu'l-Hasan Asaf Khan and his wife Diwanji Begum, the daughter of a Persian noble, Khwaja Ghias-ud-din of Qazvin. Asaf Khan was a wealthy Persian noble who held high office in the Mughal Empire. His family had come to India impoverished in 1577, when his father Mirza Ghias Beg (popularly known by his title of I'timad-ud-Daulah), was taken into the service of Emperor Akbar in Agra. Asaf Khan was also the older brother of Empress Nur Jahan, making Mumtaz a niece, and later, a step daughter-in-law of Nur Jahan, the chief consort of Emperor Jahangir, Shah Jahan's father. Her older sister, Parwar Khanum, married Sheikh Farid, the son of Nawab Qutubuddin Koka, the governor of Badaun, who was also the emperor Jahangir's foster brother. Mumtaz also had a brother, Shaista Khan, who served as the governor of Bengal and various other provinces in the empire during Shah Jahan's reign. Mumtaz was remarkable in the field of learning and was a talented and cultured lady. She was well-versed in Arabic and Persian languages and could compose poems in the latter. She was reputed to have a combination of modesty and candor, a woman warmly straightforward yet bemusedly self-possessed. Early in adolescence, she attracted the attention of important nobles of the realm. Jahangir must have heard about her, since he readily consented to Shah Jahan's engagement with her. Marriage Mumtaz Mahal was betrothed to Shah Jahan around 5 April 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 10 May 1612 or 7 June 1612 in Agra. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had married his first wife, Princess Kandahari Begum in 1610 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their 19 years of marriage, they had 14 children together (eight sons and six daughters), seven of whom died at birth or at a very young age. Mughal empress Upon his accession to the throne in 1628 after subduing his half brother, Shahryar Mirza, Shah Jahan designated Mumtaz as his chief empress with the title of Padshah Begum '(Lady Emperor)', 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age") and 'Malika-i-hindustan' ("Queen of the Hindustan"). Mumtaz's tenure as empress was brief, spanning a period of only three years due to her untimely death, nonetheless, Shah Jahan bestowed her with luxuries that no other empress was given before her. She was also the only wife of Shah Jahan to be addressed as " Hazrat ". For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose-water fountains of its own. Each wife of the Mughal emperor was given a regular monthly allowance for her gastos (housekeeping or travelling expenses); the highest such allowance on record is the one million rupees per year given to Mumtaz Mahal by Shah Jahan. Apart from this income, he gave her a lot of high-income lands and properties. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state, and she served as his close confidant and trusted adviser. Whenever an official sent matters or the people made a request, he first reported the matter to the Empress and made the decision with the knowledge of understanding and consultation with her. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land – his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A uncontested and great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress's favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. Death and aftermath Mumtaz Mahal died from postpartum hemorrhage in Burhanpur on 17 June 1631 while giving birth to her 14th child, after a prolonged labor around 30 hours. She had been accompanying her husband while he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently, after her death, he went into secluded mourning for a year. When he appeared again, his hair had turned white, his back was bent, and his face worn. Mumtaz's eldest daughter, Jahanara Begum, gradually brought her father out of grief and took her mother's place at court. Mumtaz Mahal's personal fortune (valued at 10 million rupees) was divided by Shah Jahan between Jahanara Begum, who received half, and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result, her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja, the deceased empress's head lady-in-waiting, and the distinguished courtier Wazir Khan, back to Agra. There, it was interred in a small building on the banks of the Yamuna River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally brought him to the region. While there, he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife. It was a task that would take 22 years to complete, the Taj Mahal. Taj Mahal The Taj Mahal was commissioned by Shah Jahan to be built as a mausoleum for Mumtaz Mahal. It is seen as an embodiment of undying love and marital devotion. English poet Sir Edwin Arnold describes it as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones." The beauty of the monument is also taken as a representation of Mumtaz Mahal's beauty and this association leads many to describe the Taj Mahal as feminine. Since Muslim tradition forbids elaborate decorations on graves, the bodies of Mumtaz and Shah Jahan are placed in a relatively plain crypt beneath the inner chamber with their faces turned to the right and towards Mecca. The Ninety Nine Names of God are found as calligraphic inscriptions on the sides of the tomb of Mumtaz Mahal in the crypt including, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious…". There are many theories about the origin of the name of this tomb and one of them suggests that 'Taj' is an abbreviation of the name Mumtaz. European travelers, such as François Bernier, who observed its construction, were among the first to call it the Taj Mahal. Since they are unlikely to have come up with the name, they might have picked it up from the locals of Agra who called the Empress 'Taj Mahal' and thought the tomb was named after her and the name began to be used interchangeably, but no firm evidence suggests this. Shah Jahan had not intended to entomb another person in the Taj Mahal; however, Aurangzeb had Shah Jahan buried next to the tomb of Mumtaz Mahal rather than build a separate tomb for his father. This is evident from the asymmetrical placement of Shah Jahan's grave on one side of his wife's grave which is in the centre. In popular culture Astronomy A crater was named in her honour on asteroid 433 Eros, along with another one after her husband. A crater on the planet Venus is named after her. Literature A cat named after Mumtaz Mahal ("Princess Arjumand") plays a major role in Connie Willis's 1997 novel To Say Nothing of the Dog. Arjumand Banu (Mumtaz Mahal) is a principal character in Indu Sundaresan's novel The Feast of Roses (2003) and its sequel, Shadow Princess (2010), begins with her death. Mumtaz Mahal is a main character in Sonja Chandrachud's novel Trouble at the Taj (2011). She appears in the book as a ghost. In John Shors' novel Beneath a Marble Sky (2013), Mahal's daughter, Princess Jahanara, tells the extraordinary story of how the Taj Mahal came to be, describing her own life as an agent in its creation and as a witness to the fateful events surrounding its completion. Films Mumtaz Mahal is a 1926 Indian silent film by Homi Master. Actress Enakshi Rama Rau played the role of Mumtaz Mahal in Shiraz (1928). Mumtaz Mahal, a 1944 Indian film was based on her life. Actress Suraiya played the role of young Mumtaz Mahal in Nanubhai Vakil's film Taj Mahal (1941). Mumtaz Mahal was portrayed by actress Nasreen in Abdul Rashid Kardar's film Shahjehan (1946). Mumtaz Mahal is a 1957 Indian Hindi-language drama film by Ram Daryani, starring Veena in the titular role. Bina Rai portrayed Mumtaz Mahal in M. Sadiq's film Taj Mahal (1963). Shahzadi Mumtaz, an Indian film starring Asokan and Shakuntala released in 1977. Purnima Patwardhan portrayed her role in the 2003 Indian historical drama film, Taj Mahal: A Monument of Love. Sonya Jehan portrayed Mumtaz Mahal in Akbar Khan's film Taj Mahal: An Eternal Love Story (2005). Other Mumtaz Mahal was the inspiration behind the popular Guerlain perfume Shalimar (1921). Issue Ancestry References Bibliography External links Mumtaz Mahal 1593 births 1631 deaths Deaths in childbirth Indian Shia Muslims People from Agra Taj Mahal 16th-century Indian women 16th-century Indian people 17th-century Indian women 17th-century Indian people 16th-century Iranian people 17th-century Iranian people Indian people of Iranian descent Wives of Shah Jahan	false	[ "This is a list of Mughal empresses. Most of these empresses were either from branches of the Timurid dynasty or from the royal houses of the Rajputs. Alongside Mughal emperors, these empresses played a role in the building up and rule of the Mughal Empire in South Asia, from the early 16th century to the early 18th century. The Mughal Empire mainly corresponds in the present day to the modern countries of India, Pakistan, Afghanistan, Bangladesh, Iran and Nepal.\n\nEmpresses of Babur\nAisha Sultan Begum \nZainab Sultan Begum\nMaham Begum \nMasuma Sultan Begum\nMubarika Yusufzai\n\nEmpresses of Humayum\nBega Begum\nHamida Banu Begum\nMah Chuchak Begum\n\nEmpresses of Akbar\nMariam-uz-Zamani\nRuqaiya Sultan Begum\nSalima Sultan Begum\n\nEmpresses of Jahangir\nNur Jahan\nJagat Gosain\nShah Begum\nSahib Jamal.\nNur-un-Nissa Begum\nSaliha Banu Begum\nKhas Mahal\n\nEmpress of Shahryar Mirza\nMihr-un-nissa Begum\n\nEmpresses of Shah Jahan\nMumtaz Mahal\nKandahari Begum\nAkbarabadi Mahal\n\nEmpresses of Aurangzeb\nDilras Banu Begum \nNawab Bai\nAurangabadi Mahal\n\nEmpresses of Azam Shah\nJahanzeb Banu Begum\nRahmat Banu Begum\nShahar Banu Begum\n\nEmpress of Bahadur Shah I\nNur-un-Nissa Begum\n\nEmpress of Jahandar Shah\nLal Kunwar Begum\n\nEmpress of Farrukhsiyar\nIndira Kanwar.\n\nEmpresses of Shah Rangila\nBadshah Begum\nSahiba Mahal\nQudsia Begum\n\nEmpress of Bahadur Shah Zafar\nZeenat Mahal.\n\nReferences\n\nSources\n\n \n\n \n \n\n Empresses\nMughal", "Mughal carpets (Moghul or Mogul carpets) were the handwoven floor coverings used in the Mughal Empire in their courts. Mughal carpets and rugs have their roots in India since the 16th and 17th centuries. Mughal carpets were a blend of Persian and Indian artistry uniquely designed with scenic landscapes, floral, and animal patterns. Kashmir was producing the finest wool and silk carpets and rugs, including prayer rugs. Sometimes the knot density in these rugs was so fine and tight as 300 knots per square centimeter.\n\nThe Mughal emperors were enthusiastic about textile materials, especially the third Mughal emperor Akbar who set numerous imperial workshops across India. He also arranged training of local artisans to improve the skill. In addition to textile, the manufacturing of carpets was an important industry. .\n\nProduction \nMughal carpet weaving was renowned in Agra, Lahore, and Fatehpur Sikri. The karkhanas of carpet, rugs, tents, and various other floor coverings was called Farrash khana.\n\nCreativity \nThe Mughal empress Nur Jahan had a personal interest in textiles. Her name is associated with designing many fabrics and dresses, and there is also a carpet named Farshi-Chandni that became well-known during her time.\n\nSpecial Mentions \nThe Girdler's carpet is one of the best-documented examples of Mughul carpets.\n\nSee also \nGirdler's carpet\n\nMughal Karkhanas\n\nReferences \n\nMughal art\nIndian rugs and carpets" ]
[ "Mumtaz Mahal", "Mughal empress", "What is Mughal empress?", "Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' (\"Queen of the World\")" ]	C_169ee9f3b1a14e0fa0a232da507ecea9_0	Where was she the empress?	2	Where was Mumtaz Mahal the empress?	Mumtaz Mahal	Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death), nonetheless Shah Jahan bestowed her with luxuries that no other empress was given before her. For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose water fountains of its own. Each wife of the Mughal emperor was given regular monthly allowance for her gastos (housekeeping or travelling expenses). The highest allowance on record is 10 lakh rupees per year given to Mumtaz Mahal under Shah Jahan. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state and she served as his close confidante and trusted adviser. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land -- his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress' favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. CANNOTANSWER	CANNOTANSWER	Mumtaz Mahal (, ), born Arjumand Banu Begum (; 27 April 1593 – 17 June 1631) was the empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned by her husband to act as her tomb. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility. She was the daughter of Abu'l-Hasan Asaf Khan, a wealthy Persian noble who held high office in the Mughal Empire, and the niece of Empress Nur Jahan, the chief wife of Emperor Jahangir and the power behind the emperor. She was married at the age of 19 on 10 May 1612 or 16 June 1612 to Prince Khurram, later known by his regnal name Shah Jahan, who conferred upon her the title "Mumtaz Mahal" (Persian: the exalted one of the palace). Although betrothed to Shah Jahan since 1607, she ultimately became his second wife in 1612. Mumtaz and her husband had 14 children, including Jahanara Begum (Shah Jahan's favourite daughter), and the Crown prince Dara Shikoh, the heir-apparent, anointed by his father, who temporarily succeeded him, until deposed by Mumtaz Mahal's sixth child, Aurangzeb, who ultimately succeeded his father as the sixth Mughal emperor in 1658. Mumtaz Mahal died in 1631 in Burhanpur, Deccan (present-day Madhya Pradesh), during the birth of her 14th child, a daughter named Gauhar Ara Begum. Shah Jahan had the Taj Mahal built as a tomb for her, which is considered to be a monument of undying love. As with other Mughal royal ladies, no contemporary likenesses of her are accepted, but numerous imagined portraits were created from the 19th century onwards. She is wrongly referred to as "Taj Bibi" which was the corrupted of her title Mumtaz and was in reality the title of her mother-in-law, Jagat Gosain. Family and early life Mumtaz Mahal was born as Arjumand Banu on 27 April 1593 in Agra to Abu'l-Hasan Asaf Khan and his wife Diwanji Begum, the daughter of a Persian noble, Khwaja Ghias-ud-din of Qazvin. Asaf Khan was a wealthy Persian noble who held high office in the Mughal Empire. His family had come to India impoverished in 1577, when his father Mirza Ghias Beg (popularly known by his title of I'timad-ud-Daulah), was taken into the service of Emperor Akbar in Agra. Asaf Khan was also the older brother of Empress Nur Jahan, making Mumtaz a niece, and later, a step daughter-in-law of Nur Jahan, the chief consort of Emperor Jahangir, Shah Jahan's father. Her older sister, Parwar Khanum, married Sheikh Farid, the son of Nawab Qutubuddin Koka, the governor of Badaun, who was also the emperor Jahangir's foster brother. Mumtaz also had a brother, Shaista Khan, who served as the governor of Bengal and various other provinces in the empire during Shah Jahan's reign. Mumtaz was remarkable in the field of learning and was a talented and cultured lady. She was well-versed in Arabic and Persian languages and could compose poems in the latter. She was reputed to have a combination of modesty and candor, a woman warmly straightforward yet bemusedly self-possessed. Early in adolescence, she attracted the attention of important nobles of the realm. Jahangir must have heard about her, since he readily consented to Shah Jahan's engagement with her. Marriage Mumtaz Mahal was betrothed to Shah Jahan around 5 April 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 10 May 1612 or 7 June 1612 in Agra. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had married his first wife, Princess Kandahari Begum in 1610 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their 19 years of marriage, they had 14 children together (eight sons and six daughters), seven of whom died at birth or at a very young age. Mughal empress Upon his accession to the throne in 1628 after subduing his half brother, Shahryar Mirza, Shah Jahan designated Mumtaz as his chief empress with the title of Padshah Begum '(Lady Emperor)', 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age") and 'Malika-i-hindustan' ("Queen of the Hindustan"). Mumtaz's tenure as empress was brief, spanning a period of only three years due to her untimely death, nonetheless, Shah Jahan bestowed her with luxuries that no other empress was given before her. She was also the only wife of Shah Jahan to be addressed as " Hazrat ". For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose-water fountains of its own. Each wife of the Mughal emperor was given a regular monthly allowance for her gastos (housekeeping or travelling expenses); the highest such allowance on record is the one million rupees per year given to Mumtaz Mahal by Shah Jahan. Apart from this income, he gave her a lot of high-income lands and properties. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state, and she served as his close confidant and trusted adviser. Whenever an official sent matters or the people made a request, he first reported the matter to the Empress and made the decision with the knowledge of understanding and consultation with her. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land – his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A uncontested and great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress's favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. Death and aftermath Mumtaz Mahal died from postpartum hemorrhage in Burhanpur on 17 June 1631 while giving birth to her 14th child, after a prolonged labor around 30 hours. She had been accompanying her husband while he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently, after her death, he went into secluded mourning for a year. When he appeared again, his hair had turned white, his back was bent, and his face worn. Mumtaz's eldest daughter, Jahanara Begum, gradually brought her father out of grief and took her mother's place at court. Mumtaz Mahal's personal fortune (valued at 10 million rupees) was divided by Shah Jahan between Jahanara Begum, who received half, and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result, her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja, the deceased empress's head lady-in-waiting, and the distinguished courtier Wazir Khan, back to Agra. There, it was interred in a small building on the banks of the Yamuna River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally brought him to the region. While there, he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife. It was a task that would take 22 years to complete, the Taj Mahal. Taj Mahal The Taj Mahal was commissioned by Shah Jahan to be built as a mausoleum for Mumtaz Mahal. It is seen as an embodiment of undying love and marital devotion. English poet Sir Edwin Arnold describes it as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones." The beauty of the monument is also taken as a representation of Mumtaz Mahal's beauty and this association leads many to describe the Taj Mahal as feminine. Since Muslim tradition forbids elaborate decorations on graves, the bodies of Mumtaz and Shah Jahan are placed in a relatively plain crypt beneath the inner chamber with their faces turned to the right and towards Mecca. The Ninety Nine Names of God are found as calligraphic inscriptions on the sides of the tomb of Mumtaz Mahal in the crypt including, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious…". There are many theories about the origin of the name of this tomb and one of them suggests that 'Taj' is an abbreviation of the name Mumtaz. European travelers, such as François Bernier, who observed its construction, were among the first to call it the Taj Mahal. Since they are unlikely to have come up with the name, they might have picked it up from the locals of Agra who called the Empress 'Taj Mahal' and thought the tomb was named after her and the name began to be used interchangeably, but no firm evidence suggests this. Shah Jahan had not intended to entomb another person in the Taj Mahal; however, Aurangzeb had Shah Jahan buried next to the tomb of Mumtaz Mahal rather than build a separate tomb for his father. This is evident from the asymmetrical placement of Shah Jahan's grave on one side of his wife's grave which is in the centre. In popular culture Astronomy A crater was named in her honour on asteroid 433 Eros, along with another one after her husband. A crater on the planet Venus is named after her. Literature A cat named after Mumtaz Mahal ("Princess Arjumand") plays a major role in Connie Willis's 1997 novel To Say Nothing of the Dog. Arjumand Banu (Mumtaz Mahal) is a principal character in Indu Sundaresan's novel The Feast of Roses (2003) and its sequel, Shadow Princess (2010), begins with her death. Mumtaz Mahal is a main character in Sonja Chandrachud's novel Trouble at the Taj (2011). She appears in the book as a ghost. In John Shors' novel Beneath a Marble Sky (2013), Mahal's daughter, Princess Jahanara, tells the extraordinary story of how the Taj Mahal came to be, describing her own life as an agent in its creation and as a witness to the fateful events surrounding its completion. Films Mumtaz Mahal is a 1926 Indian silent film by Homi Master. Actress Enakshi Rama Rau played the role of Mumtaz Mahal in Shiraz (1928). Mumtaz Mahal, a 1944 Indian film was based on her life. Actress Suraiya played the role of young Mumtaz Mahal in Nanubhai Vakil's film Taj Mahal (1941). Mumtaz Mahal was portrayed by actress Nasreen in Abdul Rashid Kardar's film Shahjehan (1946). Mumtaz Mahal is a 1957 Indian Hindi-language drama film by Ram Daryani, starring Veena in the titular role. Bina Rai portrayed Mumtaz Mahal in M. Sadiq's film Taj Mahal (1963). Shahzadi Mumtaz, an Indian film starring Asokan and Shakuntala released in 1977. Purnima Patwardhan portrayed her role in the 2003 Indian historical drama film, Taj Mahal: A Monument of Love. Sonya Jehan portrayed Mumtaz Mahal in Akbar Khan's film Taj Mahal: An Eternal Love Story (2005). Other Mumtaz Mahal was the inspiration behind the popular Guerlain perfume Shalimar (1921). Issue Ancestry References Bibliography External links Mumtaz Mahal 1593 births 1631 deaths Deaths in childbirth Indian Shia Muslims People from Agra Taj Mahal 16th-century Indian women 16th-century Indian people 17th-century Indian women 17th-century Indian people 16th-century Iranian people 17th-century Iranian people Indian people of Iranian descent Wives of Shah Jahan	false	[ "</noinclude>\n\n, also known as , was an empress consort of the Japanese Emperor Sanjō.\n\nLife\nShe was the second daughter of regent Fujiwara no Michinaga and Minamoto no Rinshi/Michiko. In 1004, she joined to the court and first was a lady-in-waiting for her older sister, Empress Shoshi. She later become the princess consort of Crown Prince Okasada, who had an other consort at that time, Fujiwara no Seishi, who gave birth four sons and two daughters.\n\nEmpress\nShe was arranged to marry the future Emperor, when Emperor Sanjo ascended the throne in 1012, Kenshi was made Imperial Consort [ja], and in 1013, she became Chūgū (Empress Consort). During the prior imperial reign, Kenshi's father had introduced the custom of one Emperor having two Empresses, one with the title Chūgū, and the other with the title Kōgō. Fujiwara no Michinaga agreed for Fujiwara no Seishi to be given the title of Empress (Kōgō) but he demonstrated that Seishi was to have lower rank than his daughter in practice, by making sure that no one attended the ceremony in which Seishi was made Empress. When the courtiers where summoned to the elevation ceremony of the second Empress, they laughed at the messengers and gathered at the appartemens of the Empress Kenshi instead.\n\nWhile Empress Seishi was well liked by the Emperor, she was overshadowed in the role of Empress at court by Empress Kenshi. Kenshi was reportedly the beautiful, spoiled favorite of her father, and has been described as \"willfully extravagant\".\n\nKenshi had no son, she only had a daughter, who was born in 1013, Imperial Princess Teishi. Teishi later become the Empress of Japan, just like her mother.\n\nLater life\nEmperor Sanjo retired in 1016 and died the following year. Kenshi became the Empress Dowager but she was childless so she was not powerful as her sister, Shoshi.\n\nShe was ordained as a Buddhist nun on the same day that she died.\n\nIssue\n\nImperial Princess Teishi (real pronunciation is unknown; 禎子内親王; Empress Dowager Yōmei-mon In, 陽明門院; 1013–1094), Empress (kōgō) to Emperor Go-Suzaku, mother of Emperor Go-Sanjō\n\nNotes\n\nFujiwara clan\nJapanese empresses\nJapanese Buddhist nuns\n11th-century Buddhist nuns\n994 births\n1027 deaths", "Empress Zhang Qijie (died 1537), was a Chinese empress consort of the Ming dynasty, second empress to the Jiajing Emperor. She was deprived of the title empress in 1534 because of conflicts within the family.\n\nEmpress Zhang was the daughter of a member of the Imperial guard. She was selected to the imperial harem in 1526. When the empress died in 1528, Zhang was chosen to replace her as empress on 8 January 1529. In 1534, she was deposed from her position as empress. No official reason was given. Unofficially, however, the reason was that the emperor disliked her favor with the Empress Xiaochengjing.\nShe died three years after her demotion.\n\nTitles\nDuring the reign of the Zhengde Emperor (r. 1505–1521)\nLady Zhang (張氏)\nDuring the reign of the Jiajing Emperor (r. 1521–1567)\nConsort Shun (順妃; from 1522)\nEmpress (皇后; from 1528)\n\nNotes\n\nYear of birth missing\n1537 deaths\nMing dynasty empresses\n16th-century Chinese women\n16th-century Chinese people" ]
[ "Mumtaz Mahal", "Mughal empress", "What is Mughal empress?", "Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' (\"Queen of the World\")", "Where was she the empress?", "I don't know." ]	C_169ee9f3b1a14e0fa0a232da507ecea9_0	When did she become empress?	3	When did Mumtaz Mahal become empress?	Mumtaz Mahal	Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death), nonetheless Shah Jahan bestowed her with luxuries that no other empress was given before her. For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose water fountains of its own. Each wife of the Mughal emperor was given regular monthly allowance for her gastos (housekeeping or travelling expenses). The highest allowance on record is 10 lakh rupees per year given to Mumtaz Mahal under Shah Jahan. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state and she served as his close confidante and trusted adviser. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land -- his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress' favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. CANNOTANSWER	1628,	Mumtaz Mahal (, ), born Arjumand Banu Begum (; 27 April 1593 – 17 June 1631) was the empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned by her husband to act as her tomb. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility. She was the daughter of Abu'l-Hasan Asaf Khan, a wealthy Persian noble who held high office in the Mughal Empire, and the niece of Empress Nur Jahan, the chief wife of Emperor Jahangir and the power behind the emperor. She was married at the age of 19 on 10 May 1612 or 16 June 1612 to Prince Khurram, later known by his regnal name Shah Jahan, who conferred upon her the title "Mumtaz Mahal" (Persian: the exalted one of the palace). Although betrothed to Shah Jahan since 1607, she ultimately became his second wife in 1612. Mumtaz and her husband had 14 children, including Jahanara Begum (Shah Jahan's favourite daughter), and the Crown prince Dara Shikoh, the heir-apparent, anointed by his father, who temporarily succeeded him, until deposed by Mumtaz Mahal's sixth child, Aurangzeb, who ultimately succeeded his father as the sixth Mughal emperor in 1658. Mumtaz Mahal died in 1631 in Burhanpur, Deccan (present-day Madhya Pradesh), during the birth of her 14th child, a daughter named Gauhar Ara Begum. Shah Jahan had the Taj Mahal built as a tomb for her, which is considered to be a monument of undying love. As with other Mughal royal ladies, no contemporary likenesses of her are accepted, but numerous imagined portraits were created from the 19th century onwards. She is wrongly referred to as "Taj Bibi" which was the corrupted of her title Mumtaz and was in reality the title of her mother-in-law, Jagat Gosain. Family and early life Mumtaz Mahal was born as Arjumand Banu on 27 April 1593 in Agra to Abu'l-Hasan Asaf Khan and his wife Diwanji Begum, the daughter of a Persian noble, Khwaja Ghias-ud-din of Qazvin. Asaf Khan was a wealthy Persian noble who held high office in the Mughal Empire. His family had come to India impoverished in 1577, when his father Mirza Ghias Beg (popularly known by his title of I'timad-ud-Daulah), was taken into the service of Emperor Akbar in Agra. Asaf Khan was also the older brother of Empress Nur Jahan, making Mumtaz a niece, and later, a step daughter-in-law of Nur Jahan, the chief consort of Emperor Jahangir, Shah Jahan's father. Her older sister, Parwar Khanum, married Sheikh Farid, the son of Nawab Qutubuddin Koka, the governor of Badaun, who was also the emperor Jahangir's foster brother. Mumtaz also had a brother, Shaista Khan, who served as the governor of Bengal and various other provinces in the empire during Shah Jahan's reign. Mumtaz was remarkable in the field of learning and was a talented and cultured lady. She was well-versed in Arabic and Persian languages and could compose poems in the latter. She was reputed to have a combination of modesty and candor, a woman warmly straightforward yet bemusedly self-possessed. Early in adolescence, she attracted the attention of important nobles of the realm. Jahangir must have heard about her, since he readily consented to Shah Jahan's engagement with her. Marriage Mumtaz Mahal was betrothed to Shah Jahan around 5 April 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 10 May 1612 or 7 June 1612 in Agra. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had married his first wife, Princess Kandahari Begum in 1610 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their 19 years of marriage, they had 14 children together (eight sons and six daughters), seven of whom died at birth or at a very young age. Mughal empress Upon his accession to the throne in 1628 after subduing his half brother, Shahryar Mirza, Shah Jahan designated Mumtaz as his chief empress with the title of Padshah Begum '(Lady Emperor)', 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age") and 'Malika-i-hindustan' ("Queen of the Hindustan"). Mumtaz's tenure as empress was brief, spanning a period of only three years due to her untimely death, nonetheless, Shah Jahan bestowed her with luxuries that no other empress was given before her. She was also the only wife of Shah Jahan to be addressed as " Hazrat ". For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose-water fountains of its own. Each wife of the Mughal emperor was given a regular monthly allowance for her gastos (housekeeping or travelling expenses); the highest such allowance on record is the one million rupees per year given to Mumtaz Mahal by Shah Jahan. Apart from this income, he gave her a lot of high-income lands and properties. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state, and she served as his close confidant and trusted adviser. Whenever an official sent matters or the people made a request, he first reported the matter to the Empress and made the decision with the knowledge of understanding and consultation with her. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land – his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A uncontested and great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress's favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. Death and aftermath Mumtaz Mahal died from postpartum hemorrhage in Burhanpur on 17 June 1631 while giving birth to her 14th child, after a prolonged labor around 30 hours. She had been accompanying her husband while he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently, after her death, he went into secluded mourning for a year. When he appeared again, his hair had turned white, his back was bent, and his face worn. Mumtaz's eldest daughter, Jahanara Begum, gradually brought her father out of grief and took her mother's place at court. Mumtaz Mahal's personal fortune (valued at 10 million rupees) was divided by Shah Jahan between Jahanara Begum, who received half, and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result, her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja, the deceased empress's head lady-in-waiting, and the distinguished courtier Wazir Khan, back to Agra. There, it was interred in a small building on the banks of the Yamuna River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally brought him to the region. While there, he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife. It was a task that would take 22 years to complete, the Taj Mahal. Taj Mahal The Taj Mahal was commissioned by Shah Jahan to be built as a mausoleum for Mumtaz Mahal. It is seen as an embodiment of undying love and marital devotion. English poet Sir Edwin Arnold describes it as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones." The beauty of the monument is also taken as a representation of Mumtaz Mahal's beauty and this association leads many to describe the Taj Mahal as feminine. Since Muslim tradition forbids elaborate decorations on graves, the bodies of Mumtaz and Shah Jahan are placed in a relatively plain crypt beneath the inner chamber with their faces turned to the right and towards Mecca. The Ninety Nine Names of God are found as calligraphic inscriptions on the sides of the tomb of Mumtaz Mahal in the crypt including, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious…". There are many theories about the origin of the name of this tomb and one of them suggests that 'Taj' is an abbreviation of the name Mumtaz. European travelers, such as François Bernier, who observed its construction, were among the first to call it the Taj Mahal. Since they are unlikely to have come up with the name, they might have picked it up from the locals of Agra who called the Empress 'Taj Mahal' and thought the tomb was named after her and the name began to be used interchangeably, but no firm evidence suggests this. Shah Jahan had not intended to entomb another person in the Taj Mahal; however, Aurangzeb had Shah Jahan buried next to the tomb of Mumtaz Mahal rather than build a separate tomb for his father. This is evident from the asymmetrical placement of Shah Jahan's grave on one side of his wife's grave which is in the centre. In popular culture Astronomy A crater was named in her honour on asteroid 433 Eros, along with another one after her husband. A crater on the planet Venus is named after her. Literature A cat named after Mumtaz Mahal ("Princess Arjumand") plays a major role in Connie Willis's 1997 novel To Say Nothing of the Dog. Arjumand Banu (Mumtaz Mahal) is a principal character in Indu Sundaresan's novel The Feast of Roses (2003) and its sequel, Shadow Princess (2010), begins with her death. Mumtaz Mahal is a main character in Sonja Chandrachud's novel Trouble at the Taj (2011). She appears in the book as a ghost. In John Shors' novel Beneath a Marble Sky (2013), Mahal's daughter, Princess Jahanara, tells the extraordinary story of how the Taj Mahal came to be, describing her own life as an agent in its creation and as a witness to the fateful events surrounding its completion. Films Mumtaz Mahal is a 1926 Indian silent film by Homi Master. Actress Enakshi Rama Rau played the role of Mumtaz Mahal in Shiraz (1928). Mumtaz Mahal, a 1944 Indian film was based on her life. Actress Suraiya played the role of young Mumtaz Mahal in Nanubhai Vakil's film Taj Mahal (1941). Mumtaz Mahal was portrayed by actress Nasreen in Abdul Rashid Kardar's film Shahjehan (1946). Mumtaz Mahal is a 1957 Indian Hindi-language drama film by Ram Daryani, starring Veena in the titular role. Bina Rai portrayed Mumtaz Mahal in M. Sadiq's film Taj Mahal (1963). Shahzadi Mumtaz, an Indian film starring Asokan and Shakuntala released in 1977. Purnima Patwardhan portrayed her role in the 2003 Indian historical drama film, Taj Mahal: A Monument of Love. Sonya Jehan portrayed Mumtaz Mahal in Akbar Khan's film Taj Mahal: An Eternal Love Story (2005). Other Mumtaz Mahal was the inspiration behind the popular Guerlain perfume Shalimar (1921). Issue Ancestry References Bibliography External links Mumtaz Mahal 1593 births 1631 deaths Deaths in childbirth Indian Shia Muslims People from Agra Taj Mahal 16th-century Indian women 16th-century Indian people 17th-century Indian women 17th-century Indian people 16th-century Iranian people 17th-century Iranian people Indian people of Iranian descent Wives of Shah Jahan	false	[ "Empress Hu (胡皇后, personal name unknown) was an empress of the Xianbei-led Northern Wei dynasty of China. Her husband was Emperor Xiaoming.\n\nLittle is known about Empress Hu personally—including when she became empress. It is known that she was the daughter of Hu Sheng (胡盛), a cousin of Emperor Xiaoming's mother Empress Dowager Hu. Empress Dowager Hu selected her to be Emperor Xiaoming's empress, because Empress Dowager Hu wanted to strengthen her clan. However, Emperor Xiaoming often spent time drinking, and he favored his concubine Consort Pan. Empress Hu and the other concubines did not have his favor, and she did not bear him any children. (His only child, a daughter, was born of Consort Pan.) It was described that his concubines Consorts Cui, Lu, and Li, among others, would often fight among themselves, but she largely stayed clear of these disputes. After Emperor Xiaoming's death in 528, she became a nun, but it is unclear whether she was a Buddhist or a Taoist nun. Nothing further is known about her.\n\nNorthern Wei empresses\nHu, Empress Xiaoming\nDate of death unknown\n6th-century deaths\nYear of birth unknown", "Empress Hu (; 20 May 1402 – 5 December 1443), personal name Hu Shanxiang, was a Chinese empress consort of the Ming dynasty, married to the Xuande Emperor. She was posthumously honoured with the title Empress Gongrangzhang.\n\nEarly life\nEmpress Hu was born in 1400 in Jining in present day Shandong Province. Her given name was Hu Shanxiang. She came from Jining in Shandong. Her father, Hu Rong, was a company commander (baihu). In 1417, she became the primary consort of Zhu Zhanji, the grandson-heir. Three years later in 1420, they had a daughter, the Princess Shunde. When Zhu Zhanji's father, Hongxi Emperor ascended the throne in 1424, she was appointed Consort of the Imperial Grandson ().\n\nEmpress\nUpon the succession of Xuande to the throne in 1425, she became his empress (). Empress Hu was described as weak and sickly. The emperor did not like her for not having a son, and when she at one occasion advised him not to indulge in his love of travel, he resented her for meddling in affairs that did not concern her.\n\nXuande preferred the beautiful and intelligent Noble Consort Sun, and when she gave birth to a son in 1427, he named this son Crown prince, and eagerly worked to promote her status further. Five Grand Secretaries were ordered to prepare a legal method to depose her. Grand Secretary Yang Shiqi, after failing to convince the emperor of the danger in deposing the empress without good reason, argued that it would offend his reputation. However, he was unable to avert her dismissal on the ground of having no son, being frequently ill, and of being sterile. He then suggested that she should respectfully resign herself, and that she should be well treated for the rest of her life.\n\nAnd so in the spring of 1428, the emperor had Empress Hu deposed from her position in favor of the mother of the crown prince, sent to Chang'an Palace and given a title of Immortal Teacher of Quietude and Motherly Love (), previously given to deposed empresses who were forced to become nuns, although this religious element was not demanded of Hu.\n\nLater life and death\nHu was regarded with sympathy and her mother-in-law, the empress dowager, demonstrated her sympathy and friendship by often inviting her to stay with her in the Qingning Palace, and giving her the place of an empress at banquets in the inner palace, even when her successor, Empress Sun was present. When the empress dowager died in 1442, Hu lost an important ally at court.\n\nShe was ranked a consort (), and thus no longer enjoyed an equal status with Empress Sun. She died of illness in 1443. She was buried in Jinshan according to rites prescribed for a concubine.\n\nWhen Empress Dowager Sun died in 1462, Empress Qian, consort of Emperor Yingzong, urged him to restore Hu's status as empress. Accordingly, in the summer of 1463, her title as empress was restored, a mausoleum was constructed for her according to the rites prescribed for an empress, and she was given the posthumous title Empress Gongrang Chengshun Kangmu Jingci Zhang (恭讓誠順康穆静慈章皇后).\n\nTitles\nDuring the reign of the Jianwen Emperor (r. 1398–1402):\n Lady Hu (胡氏; from 20 May 1402)\nDuring the reign of the Yongle Emperor (r. 1402–1424):\n Consort of the Imperial Grandson (皇太孙妃; from 1417)\nDuring the reign of the Hongxi Emperor (r. 1424 –1425)\n Crown Princess (皇太子妃; from 1424)\nDuring the reign of the Xuande Emperor (r. 1425–1435):\nEmpress (皇后; from 27 June 1425)\nJingci Xianshi (靜慈仙師; from 1428)\nDuring the reign of the Tianshun Emperor (r. 1457–1464):\nEmpress Gongrang Chengshun Kangmu Jingci Zhang (恭讓誠順康穆静慈章皇后; from the summer of 1463)\n\nIssue\nAs consort of the Imperial Grandson: \nPrincess Shunde (順德公主; 1420–1443), the Xuande Emperor's first daughter\nPrincess Yongqing (永清公主; d. 1433), the Xuande Emperor's second daughter\n\nIn popular culture\nPortrayed by Deng Jiajia in the 2019 Chinese television series Ming Dynasty.\nPortrayed by Zhang Nan in the upcoming Chinese television series Royal Feast.\n\nReferences\n\nSources\n\n1443 deaths\nMing dynasty posthumous empresses\n15th-century Chinese women\n15th-century Chinese people\n1402 births" ]
[ "Mumtaz Mahal", "Mughal empress", "What is Mughal empress?", "Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' (\"Queen of the World\")", "Where was she the empress?", "I don't know.", "When did she become empress?", "1628," ]	C_169ee9f3b1a14e0fa0a232da507ecea9_0	How long did she serve as empress?	4	How long did Mumtaz Mahal serve as empress?	Mumtaz Mahal	Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death), nonetheless Shah Jahan bestowed her with luxuries that no other empress was given before her. For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose water fountains of its own. Each wife of the Mughal emperor was given regular monthly allowance for her gastos (housekeeping or travelling expenses). The highest allowance on record is 10 lakh rupees per year given to Mumtaz Mahal under Shah Jahan. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state and she served as his close confidante and trusted adviser. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land -- his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress' favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. CANNOTANSWER	"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death),	Mumtaz Mahal (, ), born Arjumand Banu Begum (; 27 April 1593 – 17 June 1631) was the empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned by her husband to act as her tomb. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility. She was the daughter of Abu'l-Hasan Asaf Khan, a wealthy Persian noble who held high office in the Mughal Empire, and the niece of Empress Nur Jahan, the chief wife of Emperor Jahangir and the power behind the emperor. She was married at the age of 19 on 10 May 1612 or 16 June 1612 to Prince Khurram, later known by his regnal name Shah Jahan, who conferred upon her the title "Mumtaz Mahal" (Persian: the exalted one of the palace). Although betrothed to Shah Jahan since 1607, she ultimately became his second wife in 1612. Mumtaz and her husband had 14 children, including Jahanara Begum (Shah Jahan's favourite daughter), and the Crown prince Dara Shikoh, the heir-apparent, anointed by his father, who temporarily succeeded him, until deposed by Mumtaz Mahal's sixth child, Aurangzeb, who ultimately succeeded his father as the sixth Mughal emperor in 1658. Mumtaz Mahal died in 1631 in Burhanpur, Deccan (present-day Madhya Pradesh), during the birth of her 14th child, a daughter named Gauhar Ara Begum. Shah Jahan had the Taj Mahal built as a tomb for her, which is considered to be a monument of undying love. As with other Mughal royal ladies, no contemporary likenesses of her are accepted, but numerous imagined portraits were created from the 19th century onwards. She is wrongly referred to as "Taj Bibi" which was the corrupted of her title Mumtaz and was in reality the title of her mother-in-law, Jagat Gosain. Family and early life Mumtaz Mahal was born as Arjumand Banu on 27 April 1593 in Agra to Abu'l-Hasan Asaf Khan and his wife Diwanji Begum, the daughter of a Persian noble, Khwaja Ghias-ud-din of Qazvin. Asaf Khan was a wealthy Persian noble who held high office in the Mughal Empire. His family had come to India impoverished in 1577, when his father Mirza Ghias Beg (popularly known by his title of I'timad-ud-Daulah), was taken into the service of Emperor Akbar in Agra. Asaf Khan was also the older brother of Empress Nur Jahan, making Mumtaz a niece, and later, a step daughter-in-law of Nur Jahan, the chief consort of Emperor Jahangir, Shah Jahan's father. Her older sister, Parwar Khanum, married Sheikh Farid, the son of Nawab Qutubuddin Koka, the governor of Badaun, who was also the emperor Jahangir's foster brother. Mumtaz also had a brother, Shaista Khan, who served as the governor of Bengal and various other provinces in the empire during Shah Jahan's reign. Mumtaz was remarkable in the field of learning and was a talented and cultured lady. She was well-versed in Arabic and Persian languages and could compose poems in the latter. She was reputed to have a combination of modesty and candor, a woman warmly straightforward yet bemusedly self-possessed. Early in adolescence, she attracted the attention of important nobles of the realm. Jahangir must have heard about her, since he readily consented to Shah Jahan's engagement with her. Marriage Mumtaz Mahal was betrothed to Shah Jahan around 5 April 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 10 May 1612 or 7 June 1612 in Agra. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had married his first wife, Princess Kandahari Begum in 1610 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their 19 years of marriage, they had 14 children together (eight sons and six daughters), seven of whom died at birth or at a very young age. Mughal empress Upon his accession to the throne in 1628 after subduing his half brother, Shahryar Mirza, Shah Jahan designated Mumtaz as his chief empress with the title of Padshah Begum '(Lady Emperor)', 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age") and 'Malika-i-hindustan' ("Queen of the Hindustan"). Mumtaz's tenure as empress was brief, spanning a period of only three years due to her untimely death, nonetheless, Shah Jahan bestowed her with luxuries that no other empress was given before her. She was also the only wife of Shah Jahan to be addressed as " Hazrat ". For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose-water fountains of its own. Each wife of the Mughal emperor was given a regular monthly allowance for her gastos (housekeeping or travelling expenses); the highest such allowance on record is the one million rupees per year given to Mumtaz Mahal by Shah Jahan. Apart from this income, he gave her a lot of high-income lands and properties. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state, and she served as his close confidant and trusted adviser. Whenever an official sent matters or the people made a request, he first reported the matter to the Empress and made the decision with the knowledge of understanding and consultation with her. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land – his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A uncontested and great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress's favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. Death and aftermath Mumtaz Mahal died from postpartum hemorrhage in Burhanpur on 17 June 1631 while giving birth to her 14th child, after a prolonged labor around 30 hours. She had been accompanying her husband while he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently, after her death, he went into secluded mourning for a year. When he appeared again, his hair had turned white, his back was bent, and his face worn. Mumtaz's eldest daughter, Jahanara Begum, gradually brought her father out of grief and took her mother's place at court. Mumtaz Mahal's personal fortune (valued at 10 million rupees) was divided by Shah Jahan between Jahanara Begum, who received half, and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result, her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja, the deceased empress's head lady-in-waiting, and the distinguished courtier Wazir Khan, back to Agra. There, it was interred in a small building on the banks of the Yamuna River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally brought him to the region. While there, he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife. It was a task that would take 22 years to complete, the Taj Mahal. Taj Mahal The Taj Mahal was commissioned by Shah Jahan to be built as a mausoleum for Mumtaz Mahal. It is seen as an embodiment of undying love and marital devotion. English poet Sir Edwin Arnold describes it as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones." The beauty of the monument is also taken as a representation of Mumtaz Mahal's beauty and this association leads many to describe the Taj Mahal as feminine. Since Muslim tradition forbids elaborate decorations on graves, the bodies of Mumtaz and Shah Jahan are placed in a relatively plain crypt beneath the inner chamber with their faces turned to the right and towards Mecca. The Ninety Nine Names of God are found as calligraphic inscriptions on the sides of the tomb of Mumtaz Mahal in the crypt including, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious…". There are many theories about the origin of the name of this tomb and one of them suggests that 'Taj' is an abbreviation of the name Mumtaz. European travelers, such as François Bernier, who observed its construction, were among the first to call it the Taj Mahal. Since they are unlikely to have come up with the name, they might have picked it up from the locals of Agra who called the Empress 'Taj Mahal' and thought the tomb was named after her and the name began to be used interchangeably, but no firm evidence suggests this. Shah Jahan had not intended to entomb another person in the Taj Mahal; however, Aurangzeb had Shah Jahan buried next to the tomb of Mumtaz Mahal rather than build a separate tomb for his father. This is evident from the asymmetrical placement of Shah Jahan's grave on one side of his wife's grave which is in the centre. In popular culture Astronomy A crater was named in her honour on asteroid 433 Eros, along with another one after her husband. A crater on the planet Venus is named after her. Literature A cat named after Mumtaz Mahal ("Princess Arjumand") plays a major role in Connie Willis's 1997 novel To Say Nothing of the Dog. Arjumand Banu (Mumtaz Mahal) is a principal character in Indu Sundaresan's novel The Feast of Roses (2003) and its sequel, Shadow Princess (2010), begins with her death. Mumtaz Mahal is a main character in Sonja Chandrachud's novel Trouble at the Taj (2011). She appears in the book as a ghost. In John Shors' novel Beneath a Marble Sky (2013), Mahal's daughter, Princess Jahanara, tells the extraordinary story of how the Taj Mahal came to be, describing her own life as an agent in its creation and as a witness to the fateful events surrounding its completion. Films Mumtaz Mahal is a 1926 Indian silent film by Homi Master. Actress Enakshi Rama Rau played the role of Mumtaz Mahal in Shiraz (1928). Mumtaz Mahal, a 1944 Indian film was based on her life. Actress Suraiya played the role of young Mumtaz Mahal in Nanubhai Vakil's film Taj Mahal (1941). Mumtaz Mahal was portrayed by actress Nasreen in Abdul Rashid Kardar's film Shahjehan (1946). Mumtaz Mahal is a 1957 Indian Hindi-language drama film by Ram Daryani, starring Veena in the titular role. Bina Rai portrayed Mumtaz Mahal in M. Sadiq's film Taj Mahal (1963). Shahzadi Mumtaz, an Indian film starring Asokan and Shakuntala released in 1977. Purnima Patwardhan portrayed her role in the 2003 Indian historical drama film, Taj Mahal: A Monument of Love. Sonya Jehan portrayed Mumtaz Mahal in Akbar Khan's film Taj Mahal: An Eternal Love Story (2005). Other Mumtaz Mahal was the inspiration behind the popular Guerlain perfume Shalimar (1921). Issue Ancestry References Bibliography External links Mumtaz Mahal 1593 births 1631 deaths Deaths in childbirth Indian Shia Muslims People from Agra Taj Mahal 16th-century Indian women 16th-century Indian people 17th-century Indian women 17th-century Indian people 16th-century Iranian people 17th-century Iranian people Indian people of Iranian descent Wives of Shah Jahan	false	[ "Empress Dowager Zheng (鄭太后, personal name unknown) (died December 26, 865), formally Empress Xiaoming (孝明皇后, \"the filial and understanding empress\"), was an empress dowager of the Chinese dynasty Tang Dynasty. She was a concubine to Emperor Xianzong and, after her son Emperor Xuānzong became emperor, she became empress dowager and continued to serve in that role until her death, during the reign of her grandson Emperor Yizong (when she was grand empress dowager).\n\nBackground \nIt is not known when the future Empress Dowager Zheng was born, and little is known about her family. According to the Old Book of Tang, at the time that that history was compiled, the old records were missing as to her family origins or how she entered the palace. However, according to the New Book of Tang, she was from Danyang (丹楊, in modern Nanjing, Jiangsu), and her surname might have been originally Erzhu (). Further according to the New Book of Tang, early in the Yuanhe era (806–820) of Emperor Xianzong, when her home region was ruled by the military governor (Jiedushi) Li Qi, a fortuneteller prophesied that she would give birth to an emperor. Hearing this, Li Qi decided to take her as a concubine. After Li Qi was defeated and executed in 807, she was confiscated and taken into the imperial palace, where she became a servant girl of Emperor Xianzong's wife Consort Guo.\n\nAs imperial consort \nAt some point, Emperor Xianzong had sexual relations with Lady Zheng, and she gave birth to the 13th of his 20 sons, Li Yi. It was implied by the Old Book of Tang that she was then made an imperial consort with the relatively low rank of Yunü ().\n\nAs consort dowager \nEmperor Xianzong died in 820, and his son by Consort Guo, Li Heng became emperor (as Emperor Muzong). In 821, he created a number of his brothers princes, and it was at that time that Li Yi was created the Prince of Guang. Consort Zheng thus became Consort Dowager of Guang. Her activities during this time were not recorded in history, although it was said that, in 846, her younger brother Zheng Guang () dreamed of a wagon bearing the sun and the moon, and six lighted candles uniting into one. A fortune teller informed him that this was a sign of great fortune to come.\n\nAs empress dowager \nLater in 846, Li Yi's nephew Emperor Wuzong (Emperor Muzong's son) was seriously ill, and the powerful eunuchs inside the palace, believing that Li Yi would be easily controlled, issued an edict in Emperor Wuzong's name creating Li Yi crown prince and renaming him to Li Chen. When Emperor Wuzong died shortly thereafter, Li Chen became emperor (as Emperor Xuānzong). He honored Consort Dowager Zheng as an empress dowager. (There were thus three empresses dowager at that time, with Emperor Muzong's mother Consort Guo then being grand empress dowager, and the mother of Emperor Wuzong's brother and predecessor Emperor Wenzong, Empress Dowager Xiao known as Empress Dowager Jiqing (as she resided at Jiqing Palace ()), until her death in 846.) Zheng Guang, on account of his being Empress Dowager Zheng's brother, was initially made a general, and then the military governor of Pinglu Circuit (平盧, headquartered in modern Weifang, Shandong).\n\nIn 848, Grand Empress Dowager Guo died — purportedly murdered by Emperor Xuānzong. Empress Dowager Zheng had long resented Grand Empress Dowager Guo from the days when she was a servant girl under then-Consort Guo. It was said that because of this, and because Emperor Xuānzong suspected Grand Empress Dowager Guo of being complicit in Emperor Xianzong's suspicious death, Emperor Xuānzong did not accord Grand Empress Dowager Guo great respect, causing her to be distressed, almost committing suicide. On one occasion, she nearly jumped off a tower, and it was said that Emperor Xuānzong was greatly displeased and had her murdered. Emperor Xuānzong eventually wanted to allow his mother to be buried with his father Emperor Xianzong, and so initially, he would not let Grand Empress Dowager Guo be buried with Emperor Xianzong. However, after a controversy erupted, he relented.\n\nIt was said that Emperor Xuānzong served his mother in a filially pious way, and because she did not want to reside anywhere else, she remained at his Daming Palace. Also because of her, after Zheng Guang served as military governor of Pinglu, Zheng Guang was given another term as military governor of Hezhong Circuit (河中, headquartered in modern Yuncheng, Shanxi). On an occasion when Zheng Guang was at the capital Chang'an to give homage to Emperor Xuānzong, however, Emperor Xuānzong asked him for advice and was distressed to hear what he thought to be unworthy responses. He kept Zheng Guang at Chang'an, giving him a general title. Empress Dowager Zheng repeatedly told him that Zheng Guang was poor, and the emperor responded by awarding Zheng Guang great wealth, but did not again allow Zheng Guang to govern the people.\n\nAs grand empress dowager \nEmperor Xuānzong died in 859 and was succeeded by his son Li Cui (as Emperor Yizong). Emperor Yizong honored Empress Dowager Zheng as grand empress dowager. She died in 865. As Empress Dowager Guo was already buried with Emperor Xianzong and enshrined at his temple, she was neither; rather, she was buried near Emperor Xianzong's tomb and enshrined in a separate temple.\n\nStyles\nLady Zheng\nConcubine Zheng\nPrincess Dowager of Guang 光王太妃 (820–846)\nEmpress Dowager Zheng (846–859)\nGrand Empress Dowager Zheng (859–865)\n\nIn fiction\nPlayed by Mary Hon, a fictionalized version of Empress Dowager Zheng was portrayed in 2009 Hong Kong's TVB television series, Beyond the Realm of Conscience.\n\nNotes and references \n\n Old Book of Tang, vol. 52.\n New Book of Tang, vol. 77.\n Zizhi Tongjian, vols. 248, 249, 250.\n\n8th-century births\n865 deaths\nTang dynasty empresses dowager\nPeople from Nanjing\nChinese grand empresses dowager", "Empress Li Fengniang (1144 – 16 July 1200) was a Chinese Empress consort of the Song Dynasty, married to Emperor Guangzong of Song. She is known as the de facto ruler of the Song dynasty Empire during the reign of her spouse.\n\nLife\nEmpress Li was born as Fengniang, daughter of general Li Dao, a military commissioner from Anyang. According to legend, a Daoist priest and matchmaker one day predicted that she was destined to be the mother of the people. After having made the prediction, the priest asked for an audience with the emperor, and successfully negotiated for her to be accepted as consort of the emperor's grandson Zhao Dun, the future Emperor Guangzong.\n\nMarriage\nLi was accepted as the consort of Prince Dun, and became Crown Princess when her spouse was elevated to the position of heir to the throne in 1170. Crown Princess Li was described as dominant and independent minded. She complained of the concubines of her husband to the retired Emperor Gaozong as well as to her father-in-law Emperor Xiaozong who became displeased with her and asked her to act in a more submissive way, such as the Empress Dowager Wu. Li refused to submit, however, and there are several stories illustrating how she came to dominate her husband.\n\nEmpress\nIn 1189, her spouse succeeded to the throne as Emperor Guangzong of Song. Empress Li Fengniang became notorious in Chinese history for being ruthless and shrewd, and for ruling the state through her husband, who became known a \"henpecked weakling\" dominated by his wife. During his reign, it was the Empress who de facto ruled the Song Empire. There is a legend to how this occurred. In 1191, Empress Li allegedly had the emperor's favorite concubine consort Huang killed, which caused the Emperor to react so badly that he became sick and bedridden, leaving the empress to handle the affairs of state by herself. \n\nEmpress Li reportedly attempted to keep the emperor and his father separate, and often stopped the emperor from seeing his father. On one occasion, at the sickbed of the emperor, her father-in-law threatened to have her executed for not taking proper care of the monarch. When her spouse recovered, she told him about the threat, and also that she suspected that the medicine his father had left him was poisoned. This is given as the reason to why Emperor Guangzong did not visit his own father's funeral in 1194, which was blamed on Empress Li and led the Empress Dowager Wu to force Guangzong to abdicate.\n\nAfter the abdication of her spouse, she was called \"The Empress of the Retired Emperor\". In 1197, she caused a last scandal by refusing to attend the funeral of Empress Dowager Wu.\n\nNotes\n\n1144 births\n1200 deaths\nSong dynasty empresses\nSong dynasty empresses dowager\n12th-century Chinese women\n12th-century Chinese people" ]
[ "Mumtaz Mahal", "Mughal empress", "What is Mughal empress?", "Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' (\"Queen of the World\")", "Where was she the empress?", "I don't know.", "When did she become empress?", "1628,", "How long did she serve as empress?", "\"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death)," ]	C_169ee9f3b1a14e0fa0a232da507ecea9_0	How did she die?	5	How did Mumtaz Mahal die?	Mumtaz Mahal	Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death), nonetheless Shah Jahan bestowed her with luxuries that no other empress was given before her. For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose water fountains of its own. Each wife of the Mughal emperor was given regular monthly allowance for her gastos (housekeeping or travelling expenses). The highest allowance on record is 10 lakh rupees per year given to Mumtaz Mahal under Shah Jahan. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state and she served as his close confidante and trusted adviser. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land -- his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress' favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. CANNOTANSWER	CANNOTANSWER	Mumtaz Mahal (, ), born Arjumand Banu Begum (; 27 April 1593 – 17 June 1631) was the empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned by her husband to act as her tomb. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility. She was the daughter of Abu'l-Hasan Asaf Khan, a wealthy Persian noble who held high office in the Mughal Empire, and the niece of Empress Nur Jahan, the chief wife of Emperor Jahangir and the power behind the emperor. She was married at the age of 19 on 10 May 1612 or 16 June 1612 to Prince Khurram, later known by his regnal name Shah Jahan, who conferred upon her the title "Mumtaz Mahal" (Persian: the exalted one of the palace). Although betrothed to Shah Jahan since 1607, she ultimately became his second wife in 1612. Mumtaz and her husband had 14 children, including Jahanara Begum (Shah Jahan's favourite daughter), and the Crown prince Dara Shikoh, the heir-apparent, anointed by his father, who temporarily succeeded him, until deposed by Mumtaz Mahal's sixth child, Aurangzeb, who ultimately succeeded his father as the sixth Mughal emperor in 1658. Mumtaz Mahal died in 1631 in Burhanpur, Deccan (present-day Madhya Pradesh), during the birth of her 14th child, a daughter named Gauhar Ara Begum. Shah Jahan had the Taj Mahal built as a tomb for her, which is considered to be a monument of undying love. As with other Mughal royal ladies, no contemporary likenesses of her are accepted, but numerous imagined portraits were created from the 19th century onwards. She is wrongly referred to as "Taj Bibi" which was the corrupted of her title Mumtaz and was in reality the title of her mother-in-law, Jagat Gosain. Family and early life Mumtaz Mahal was born as Arjumand Banu on 27 April 1593 in Agra to Abu'l-Hasan Asaf Khan and his wife Diwanji Begum, the daughter of a Persian noble, Khwaja Ghias-ud-din of Qazvin. Asaf Khan was a wealthy Persian noble who held high office in the Mughal Empire. His family had come to India impoverished in 1577, when his father Mirza Ghias Beg (popularly known by his title of I'timad-ud-Daulah), was taken into the service of Emperor Akbar in Agra. Asaf Khan was also the older brother of Empress Nur Jahan, making Mumtaz a niece, and later, a step daughter-in-law of Nur Jahan, the chief consort of Emperor Jahangir, Shah Jahan's father. Her older sister, Parwar Khanum, married Sheikh Farid, the son of Nawab Qutubuddin Koka, the governor of Badaun, who was also the emperor Jahangir's foster brother. Mumtaz also had a brother, Shaista Khan, who served as the governor of Bengal and various other provinces in the empire during Shah Jahan's reign. Mumtaz was remarkable in the field of learning and was a talented and cultured lady. She was well-versed in Arabic and Persian languages and could compose poems in the latter. She was reputed to have a combination of modesty and candor, a woman warmly straightforward yet bemusedly self-possessed. Early in adolescence, she attracted the attention of important nobles of the realm. Jahangir must have heard about her, since he readily consented to Shah Jahan's engagement with her. Marriage Mumtaz Mahal was betrothed to Shah Jahan around 5 April 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 10 May 1612 or 7 June 1612 in Agra. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had married his first wife, Princess Kandahari Begum in 1610 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their 19 years of marriage, they had 14 children together (eight sons and six daughters), seven of whom died at birth or at a very young age. Mughal empress Upon his accession to the throne in 1628 after subduing his half brother, Shahryar Mirza, Shah Jahan designated Mumtaz as his chief empress with the title of Padshah Begum '(Lady Emperor)', 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age") and 'Malika-i-hindustan' ("Queen of the Hindustan"). Mumtaz's tenure as empress was brief, spanning a period of only three years due to her untimely death, nonetheless, Shah Jahan bestowed her with luxuries that no other empress was given before her. She was also the only wife of Shah Jahan to be addressed as " Hazrat ". For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose-water fountains of its own. Each wife of the Mughal emperor was given a regular monthly allowance for her gastos (housekeeping or travelling expenses); the highest such allowance on record is the one million rupees per year given to Mumtaz Mahal by Shah Jahan. Apart from this income, he gave her a lot of high-income lands and properties. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state, and she served as his close confidant and trusted adviser. Whenever an official sent matters or the people made a request, he first reported the matter to the Empress and made the decision with the knowledge of understanding and consultation with her. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land – his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A uncontested and great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress's favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. Death and aftermath Mumtaz Mahal died from postpartum hemorrhage in Burhanpur on 17 June 1631 while giving birth to her 14th child, after a prolonged labor around 30 hours. She had been accompanying her husband while he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently, after her death, he went into secluded mourning for a year. When he appeared again, his hair had turned white, his back was bent, and his face worn. Mumtaz's eldest daughter, Jahanara Begum, gradually brought her father out of grief and took her mother's place at court. Mumtaz Mahal's personal fortune (valued at 10 million rupees) was divided by Shah Jahan between Jahanara Begum, who received half, and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result, her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja, the deceased empress's head lady-in-waiting, and the distinguished courtier Wazir Khan, back to Agra. There, it was interred in a small building on the banks of the Yamuna River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally brought him to the region. While there, he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife. It was a task that would take 22 years to complete, the Taj Mahal. Taj Mahal The Taj Mahal was commissioned by Shah Jahan to be built as a mausoleum for Mumtaz Mahal. It is seen as an embodiment of undying love and marital devotion. English poet Sir Edwin Arnold describes it as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones." The beauty of the monument is also taken as a representation of Mumtaz Mahal's beauty and this association leads many to describe the Taj Mahal as feminine. Since Muslim tradition forbids elaborate decorations on graves, the bodies of Mumtaz and Shah Jahan are placed in a relatively plain crypt beneath the inner chamber with their faces turned to the right and towards Mecca. The Ninety Nine Names of God are found as calligraphic inscriptions on the sides of the tomb of Mumtaz Mahal in the crypt including, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious…". There are many theories about the origin of the name of this tomb and one of them suggests that 'Taj' is an abbreviation of the name Mumtaz. European travelers, such as François Bernier, who observed its construction, were among the first to call it the Taj Mahal. Since they are unlikely to have come up with the name, they might have picked it up from the locals of Agra who called the Empress 'Taj Mahal' and thought the tomb was named after her and the name began to be used interchangeably, but no firm evidence suggests this. Shah Jahan had not intended to entomb another person in the Taj Mahal; however, Aurangzeb had Shah Jahan buried next to the tomb of Mumtaz Mahal rather than build a separate tomb for his father. This is evident from the asymmetrical placement of Shah Jahan's grave on one side of his wife's grave which is in the centre. In popular culture Astronomy A crater was named in her honour on asteroid 433 Eros, along with another one after her husband. A crater on the planet Venus is named after her. Literature A cat named after Mumtaz Mahal ("Princess Arjumand") plays a major role in Connie Willis's 1997 novel To Say Nothing of the Dog. Arjumand Banu (Mumtaz Mahal) is a principal character in Indu Sundaresan's novel The Feast of Roses (2003) and its sequel, Shadow Princess (2010), begins with her death. Mumtaz Mahal is a main character in Sonja Chandrachud's novel Trouble at the Taj (2011). She appears in the book as a ghost. In John Shors' novel Beneath a Marble Sky (2013), Mahal's daughter, Princess Jahanara, tells the extraordinary story of how the Taj Mahal came to be, describing her own life as an agent in its creation and as a witness to the fateful events surrounding its completion. Films Mumtaz Mahal is a 1926 Indian silent film by Homi Master. Actress Enakshi Rama Rau played the role of Mumtaz Mahal in Shiraz (1928). Mumtaz Mahal, a 1944 Indian film was based on her life. Actress Suraiya played the role of young Mumtaz Mahal in Nanubhai Vakil's film Taj Mahal (1941). Mumtaz Mahal was portrayed by actress Nasreen in Abdul Rashid Kardar's film Shahjehan (1946). Mumtaz Mahal is a 1957 Indian Hindi-language drama film by Ram Daryani, starring Veena in the titular role. Bina Rai portrayed Mumtaz Mahal in M. Sadiq's film Taj Mahal (1963). Shahzadi Mumtaz, an Indian film starring Asokan and Shakuntala released in 1977. Purnima Patwardhan portrayed her role in the 2003 Indian historical drama film, Taj Mahal: A Monument of Love. Sonya Jehan portrayed Mumtaz Mahal in Akbar Khan's film Taj Mahal: An Eternal Love Story (2005). Other Mumtaz Mahal was the inspiration behind the popular Guerlain perfume Shalimar (1921). Issue Ancestry References Bibliography External links Mumtaz Mahal 1593 births 1631 deaths Deaths in childbirth Indian Shia Muslims People from Agra Taj Mahal 16th-century Indian women 16th-century Indian people 17th-century Indian women 17th-century Indian people 16th-century Iranian people 17th-century Iranian people Indian people of Iranian descent Wives of Shah Jahan	false	[ "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", "How To Kill is the first EP by the Canadian rock band Die Mannequin, released on September 25, 2006. Produced by electronic music group MSTRKRFT, How To Kill was the group's first release and because Care Failure had yet to put together a full-time band she performed the vocals, guitar and bass herself with the drums being handled by Jesse F. Keeler of MSTRKRFT and Death from Above 1979 fame.\n\nTrack listing\nAll songs written by Care Failure, except \"Fatherpunk\" by Care Failure and Michael T. Fox.\n\n\"Autumn Cannibalist\" – 3:23\n\"Near The End\" – 2:47\n\"Fatherpunk\" – 3:13\n\"Donut Kill Self\" – 4:31\n\nPersonnel\nDie Mannequin\nCare Failure – lead vocals, guitar, bass\nJesse F. Keeler – drums, percussion\n\nTechnical staff and artwork\nRecorded & Produced by MSTRKRFT.\nArt by Care Failure / Marc P.\n\nSee also\nDie Mannequin\n\nExternal links\nOfficial website\nMyspace\n\n2006 EPs" ]
[ "Mumtaz Mahal", "Mughal empress", "What is Mughal empress?", "Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' (\"Queen of the World\")", "Where was she the empress?", "I don't know.", "When did she become empress?", "1628,", "How long did she serve as empress?", "\"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death),", "How did she die?", "I don't know." ]	C_169ee9f3b1a14e0fa0a232da507ecea9_0	Are there any other interesting aspects about this article?	6	Besides being an empress, are there any other interesting aspects about this article?	Mumtaz Mahal	Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death), nonetheless Shah Jahan bestowed her with luxuries that no other empress was given before her. For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose water fountains of its own. Each wife of the Mughal emperor was given regular monthly allowance for her gastos (housekeeping or travelling expenses). The highest allowance on record is 10 lakh rupees per year given to Mumtaz Mahal under Shah Jahan. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state and she served as his close confidante and trusted adviser. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land -- his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress' favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. CANNOTANSWER	A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court.	Mumtaz Mahal (, ), born Arjumand Banu Begum (; 27 April 1593 – 17 June 1631) was the empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned by her husband to act as her tomb. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility. She was the daughter of Abu'l-Hasan Asaf Khan, a wealthy Persian noble who held high office in the Mughal Empire, and the niece of Empress Nur Jahan, the chief wife of Emperor Jahangir and the power behind the emperor. She was married at the age of 19 on 10 May 1612 or 16 June 1612 to Prince Khurram, later known by his regnal name Shah Jahan, who conferred upon her the title "Mumtaz Mahal" (Persian: the exalted one of the palace). Although betrothed to Shah Jahan since 1607, she ultimately became his second wife in 1612. Mumtaz and her husband had 14 children, including Jahanara Begum (Shah Jahan's favourite daughter), and the Crown prince Dara Shikoh, the heir-apparent, anointed by his father, who temporarily succeeded him, until deposed by Mumtaz Mahal's sixth child, Aurangzeb, who ultimately succeeded his father as the sixth Mughal emperor in 1658. Mumtaz Mahal died in 1631 in Burhanpur, Deccan (present-day Madhya Pradesh), during the birth of her 14th child, a daughter named Gauhar Ara Begum. Shah Jahan had the Taj Mahal built as a tomb for her, which is considered to be a monument of undying love. As with other Mughal royal ladies, no contemporary likenesses of her are accepted, but numerous imagined portraits were created from the 19th century onwards. She is wrongly referred to as "Taj Bibi" which was the corrupted of her title Mumtaz and was in reality the title of her mother-in-law, Jagat Gosain. Family and early life Mumtaz Mahal was born as Arjumand Banu on 27 April 1593 in Agra to Abu'l-Hasan Asaf Khan and his wife Diwanji Begum, the daughter of a Persian noble, Khwaja Ghias-ud-din of Qazvin. Asaf Khan was a wealthy Persian noble who held high office in the Mughal Empire. His family had come to India impoverished in 1577, when his father Mirza Ghias Beg (popularly known by his title of I'timad-ud-Daulah), was taken into the service of Emperor Akbar in Agra. Asaf Khan was also the older brother of Empress Nur Jahan, making Mumtaz a niece, and later, a step daughter-in-law of Nur Jahan, the chief consort of Emperor Jahangir, Shah Jahan's father. Her older sister, Parwar Khanum, married Sheikh Farid, the son of Nawab Qutubuddin Koka, the governor of Badaun, who was also the emperor Jahangir's foster brother. Mumtaz also had a brother, Shaista Khan, who served as the governor of Bengal and various other provinces in the empire during Shah Jahan's reign. Mumtaz was remarkable in the field of learning and was a talented and cultured lady. She was well-versed in Arabic and Persian languages and could compose poems in the latter. She was reputed to have a combination of modesty and candor, a woman warmly straightforward yet bemusedly self-possessed. Early in adolescence, she attracted the attention of important nobles of the realm. Jahangir must have heard about her, since he readily consented to Shah Jahan's engagement with her. Marriage Mumtaz Mahal was betrothed to Shah Jahan around 5 April 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 10 May 1612 or 7 June 1612 in Agra. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had married his first wife, Princess Kandahari Begum in 1610 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their 19 years of marriage, they had 14 children together (eight sons and six daughters), seven of whom died at birth or at a very young age. Mughal empress Upon his accession to the throne in 1628 after subduing his half brother, Shahryar Mirza, Shah Jahan designated Mumtaz as his chief empress with the title of Padshah Begum '(Lady Emperor)', 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age") and 'Malika-i-hindustan' ("Queen of the Hindustan"). Mumtaz's tenure as empress was brief, spanning a period of only three years due to her untimely death, nonetheless, Shah Jahan bestowed her with luxuries that no other empress was given before her. She was also the only wife of Shah Jahan to be addressed as " Hazrat ". For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose-water fountains of its own. Each wife of the Mughal emperor was given a regular monthly allowance for her gastos (housekeeping or travelling expenses); the highest such allowance on record is the one million rupees per year given to Mumtaz Mahal by Shah Jahan. Apart from this income, he gave her a lot of high-income lands and properties. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state, and she served as his close confidant and trusted adviser. Whenever an official sent matters or the people made a request, he first reported the matter to the Empress and made the decision with the knowledge of understanding and consultation with her. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land – his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A uncontested and great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress's favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. Death and aftermath Mumtaz Mahal died from postpartum hemorrhage in Burhanpur on 17 June 1631 while giving birth to her 14th child, after a prolonged labor around 30 hours. She had been accompanying her husband while he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently, after her death, he went into secluded mourning for a year. When he appeared again, his hair had turned white, his back was bent, and his face worn. Mumtaz's eldest daughter, Jahanara Begum, gradually brought her father out of grief and took her mother's place at court. Mumtaz Mahal's personal fortune (valued at 10 million rupees) was divided by Shah Jahan between Jahanara Begum, who received half, and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result, her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja, the deceased empress's head lady-in-waiting, and the distinguished courtier Wazir Khan, back to Agra. There, it was interred in a small building on the banks of the Yamuna River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally brought him to the region. While there, he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife. It was a task that would take 22 years to complete, the Taj Mahal. Taj Mahal The Taj Mahal was commissioned by Shah Jahan to be built as a mausoleum for Mumtaz Mahal. It is seen as an embodiment of undying love and marital devotion. English poet Sir Edwin Arnold describes it as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones." The beauty of the monument is also taken as a representation of Mumtaz Mahal's beauty and this association leads many to describe the Taj Mahal as feminine. Since Muslim tradition forbids elaborate decorations on graves, the bodies of Mumtaz and Shah Jahan are placed in a relatively plain crypt beneath the inner chamber with their faces turned to the right and towards Mecca. The Ninety Nine Names of God are found as calligraphic inscriptions on the sides of the tomb of Mumtaz Mahal in the crypt including, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious…". There are many theories about the origin of the name of this tomb and one of them suggests that 'Taj' is an abbreviation of the name Mumtaz. European travelers, such as François Bernier, who observed its construction, were among the first to call it the Taj Mahal. Since they are unlikely to have come up with the name, they might have picked it up from the locals of Agra who called the Empress 'Taj Mahal' and thought the tomb was named after her and the name began to be used interchangeably, but no firm evidence suggests this. Shah Jahan had not intended to entomb another person in the Taj Mahal; however, Aurangzeb had Shah Jahan buried next to the tomb of Mumtaz Mahal rather than build a separate tomb for his father. This is evident from the asymmetrical placement of Shah Jahan's grave on one side of his wife's grave which is in the centre. In popular culture Astronomy A crater was named in her honour on asteroid 433 Eros, along with another one after her husband. A crater on the planet Venus is named after her. Literature A cat named after Mumtaz Mahal ("Princess Arjumand") plays a major role in Connie Willis's 1997 novel To Say Nothing of the Dog. Arjumand Banu (Mumtaz Mahal) is a principal character in Indu Sundaresan's novel The Feast of Roses (2003) and its sequel, Shadow Princess (2010), begins with her death. Mumtaz Mahal is a main character in Sonja Chandrachud's novel Trouble at the Taj (2011). She appears in the book as a ghost. In John Shors' novel Beneath a Marble Sky (2013), Mahal's daughter, Princess Jahanara, tells the extraordinary story of how the Taj Mahal came to be, describing her own life as an agent in its creation and as a witness to the fateful events surrounding its completion. Films Mumtaz Mahal is a 1926 Indian silent film by Homi Master. Actress Enakshi Rama Rau played the role of Mumtaz Mahal in Shiraz (1928). Mumtaz Mahal, a 1944 Indian film was based on her life. Actress Suraiya played the role of young Mumtaz Mahal in Nanubhai Vakil's film Taj Mahal (1941). Mumtaz Mahal was portrayed by actress Nasreen in Abdul Rashid Kardar's film Shahjehan (1946). Mumtaz Mahal is a 1957 Indian Hindi-language drama film by Ram Daryani, starring Veena in the titular role. Bina Rai portrayed Mumtaz Mahal in M. Sadiq's film Taj Mahal (1963). Shahzadi Mumtaz, an Indian film starring Asokan and Shakuntala released in 1977. Purnima Patwardhan portrayed her role in the 2003 Indian historical drama film, Taj Mahal: A Monument of Love. Sonya Jehan portrayed Mumtaz Mahal in Akbar Khan's film Taj Mahal: An Eternal Love Story (2005). Other Mumtaz Mahal was the inspiration behind the popular Guerlain perfume Shalimar (1921). Issue Ancestry References Bibliography External links Mumtaz Mahal 1593 births 1631 deaths Deaths in childbirth Indian Shia Muslims People from Agra Taj Mahal 16th-century Indian women 16th-century Indian people 17th-century Indian women 17th-century Indian people 16th-century Iranian people 17th-century Iranian people Indian people of Iranian descent Wives of Shah Jahan	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" ]
[ "Mumtaz Mahal", "Mughal empress", "What is Mughal empress?", "Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' (\"Queen of the World\")", "Where was she the empress?", "I don't know.", "When did she become empress?", "1628,", "How long did she serve as empress?", "\"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death),", "How did she die?", "I don't know.", "Are there any other interesting aspects about this article?", "A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court." ]	C_169ee9f3b1a14e0fa0a232da507ecea9_0	What else dis she enjoy?	7	Besides watching elephant and combat fights, what else did Mumtaz Mahal enjoy?	Mumtaz Mahal	Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death), nonetheless Shah Jahan bestowed her with luxuries that no other empress was given before her. For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose water fountains of its own. Each wife of the Mughal emperor was given regular monthly allowance for her gastos (housekeeping or travelling expenses). The highest allowance on record is 10 lakh rupees per year given to Mumtaz Mahal under Shah Jahan. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state and she served as his close confidante and trusted adviser. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land -- his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress' favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. CANNOTANSWER	Mumtaz also patronized a number of poets, scholars and other talented persons.	Mumtaz Mahal (, ), born Arjumand Banu Begum (; 27 April 1593 – 17 June 1631) was the empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned by her husband to act as her tomb. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility. She was the daughter of Abu'l-Hasan Asaf Khan, a wealthy Persian noble who held high office in the Mughal Empire, and the niece of Empress Nur Jahan, the chief wife of Emperor Jahangir and the power behind the emperor. She was married at the age of 19 on 10 May 1612 or 16 June 1612 to Prince Khurram, later known by his regnal name Shah Jahan, who conferred upon her the title "Mumtaz Mahal" (Persian: the exalted one of the palace). Although betrothed to Shah Jahan since 1607, she ultimately became his second wife in 1612. Mumtaz and her husband had 14 children, including Jahanara Begum (Shah Jahan's favourite daughter), and the Crown prince Dara Shikoh, the heir-apparent, anointed by his father, who temporarily succeeded him, until deposed by Mumtaz Mahal's sixth child, Aurangzeb, who ultimately succeeded his father as the sixth Mughal emperor in 1658. Mumtaz Mahal died in 1631 in Burhanpur, Deccan (present-day Madhya Pradesh), during the birth of her 14th child, a daughter named Gauhar Ara Begum. Shah Jahan had the Taj Mahal built as a tomb for her, which is considered to be a monument of undying love. As with other Mughal royal ladies, no contemporary likenesses of her are accepted, but numerous imagined portraits were created from the 19th century onwards. She is wrongly referred to as "Taj Bibi" which was the corrupted of her title Mumtaz and was in reality the title of her mother-in-law, Jagat Gosain. Family and early life Mumtaz Mahal was born as Arjumand Banu on 27 April 1593 in Agra to Abu'l-Hasan Asaf Khan and his wife Diwanji Begum, the daughter of a Persian noble, Khwaja Ghias-ud-din of Qazvin. Asaf Khan was a wealthy Persian noble who held high office in the Mughal Empire. His family had come to India impoverished in 1577, when his father Mirza Ghias Beg (popularly known by his title of I'timad-ud-Daulah), was taken into the service of Emperor Akbar in Agra. Asaf Khan was also the older brother of Empress Nur Jahan, making Mumtaz a niece, and later, a step daughter-in-law of Nur Jahan, the chief consort of Emperor Jahangir, Shah Jahan's father. Her older sister, Parwar Khanum, married Sheikh Farid, the son of Nawab Qutubuddin Koka, the governor of Badaun, who was also the emperor Jahangir's foster brother. Mumtaz also had a brother, Shaista Khan, who served as the governor of Bengal and various other provinces in the empire during Shah Jahan's reign. Mumtaz was remarkable in the field of learning and was a talented and cultured lady. She was well-versed in Arabic and Persian languages and could compose poems in the latter. She was reputed to have a combination of modesty and candor, a woman warmly straightforward yet bemusedly self-possessed. Early in adolescence, she attracted the attention of important nobles of the realm. Jahangir must have heard about her, since he readily consented to Shah Jahan's engagement with her. Marriage Mumtaz Mahal was betrothed to Shah Jahan around 5 April 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 10 May 1612 or 7 June 1612 in Agra. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had married his first wife, Princess Kandahari Begum in 1610 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their 19 years of marriage, they had 14 children together (eight sons and six daughters), seven of whom died at birth or at a very young age. Mughal empress Upon his accession to the throne in 1628 after subduing his half brother, Shahryar Mirza, Shah Jahan designated Mumtaz as his chief empress with the title of Padshah Begum '(Lady Emperor)', 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age") and 'Malika-i-hindustan' ("Queen of the Hindustan"). Mumtaz's tenure as empress was brief, spanning a period of only three years due to her untimely death, nonetheless, Shah Jahan bestowed her with luxuries that no other empress was given before her. She was also the only wife of Shah Jahan to be addressed as " Hazrat ". For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose-water fountains of its own. Each wife of the Mughal emperor was given a regular monthly allowance for her gastos (housekeeping or travelling expenses); the highest such allowance on record is the one million rupees per year given to Mumtaz Mahal by Shah Jahan. Apart from this income, he gave her a lot of high-income lands and properties. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state, and she served as his close confidant and trusted adviser. Whenever an official sent matters or the people made a request, he first reported the matter to the Empress and made the decision with the knowledge of understanding and consultation with her. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land – his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A uncontested and great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress's favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. Death and aftermath Mumtaz Mahal died from postpartum hemorrhage in Burhanpur on 17 June 1631 while giving birth to her 14th child, after a prolonged labor around 30 hours. She had been accompanying her husband while he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently, after her death, he went into secluded mourning for a year. When he appeared again, his hair had turned white, his back was bent, and his face worn. Mumtaz's eldest daughter, Jahanara Begum, gradually brought her father out of grief and took her mother's place at court. Mumtaz Mahal's personal fortune (valued at 10 million rupees) was divided by Shah Jahan between Jahanara Begum, who received half, and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result, her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja, the deceased empress's head lady-in-waiting, and the distinguished courtier Wazir Khan, back to Agra. There, it was interred in a small building on the banks of the Yamuna River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally brought him to the region. While there, he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife. It was a task that would take 22 years to complete, the Taj Mahal. Taj Mahal The Taj Mahal was commissioned by Shah Jahan to be built as a mausoleum for Mumtaz Mahal. It is seen as an embodiment of undying love and marital devotion. English poet Sir Edwin Arnold describes it as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones." The beauty of the monument is also taken as a representation of Mumtaz Mahal's beauty and this association leads many to describe the Taj Mahal as feminine. Since Muslim tradition forbids elaborate decorations on graves, the bodies of Mumtaz and Shah Jahan are placed in a relatively plain crypt beneath the inner chamber with their faces turned to the right and towards Mecca. The Ninety Nine Names of God are found as calligraphic inscriptions on the sides of the tomb of Mumtaz Mahal in the crypt including, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious…". There are many theories about the origin of the name of this tomb and one of them suggests that 'Taj' is an abbreviation of the name Mumtaz. European travelers, such as François Bernier, who observed its construction, were among the first to call it the Taj Mahal. Since they are unlikely to have come up with the name, they might have picked it up from the locals of Agra who called the Empress 'Taj Mahal' and thought the tomb was named after her and the name began to be used interchangeably, but no firm evidence suggests this. Shah Jahan had not intended to entomb another person in the Taj Mahal; however, Aurangzeb had Shah Jahan buried next to the tomb of Mumtaz Mahal rather than build a separate tomb for his father. This is evident from the asymmetrical placement of Shah Jahan's grave on one side of his wife's grave which is in the centre. In popular culture Astronomy A crater was named in her honour on asteroid 433 Eros, along with another one after her husband. A crater on the planet Venus is named after her. Literature A cat named after Mumtaz Mahal ("Princess Arjumand") plays a major role in Connie Willis's 1997 novel To Say Nothing of the Dog. Arjumand Banu (Mumtaz Mahal) is a principal character in Indu Sundaresan's novel The Feast of Roses (2003) and its sequel, Shadow Princess (2010), begins with her death. Mumtaz Mahal is a main character in Sonja Chandrachud's novel Trouble at the Taj (2011). She appears in the book as a ghost. In John Shors' novel Beneath a Marble Sky (2013), Mahal's daughter, Princess Jahanara, tells the extraordinary story of how the Taj Mahal came to be, describing her own life as an agent in its creation and as a witness to the fateful events surrounding its completion. Films Mumtaz Mahal is a 1926 Indian silent film by Homi Master. Actress Enakshi Rama Rau played the role of Mumtaz Mahal in Shiraz (1928). Mumtaz Mahal, a 1944 Indian film was based on her life. Actress Suraiya played the role of young Mumtaz Mahal in Nanubhai Vakil's film Taj Mahal (1941). Mumtaz Mahal was portrayed by actress Nasreen in Abdul Rashid Kardar's film Shahjehan (1946). Mumtaz Mahal is a 1957 Indian Hindi-language drama film by Ram Daryani, starring Veena in the titular role. Bina Rai portrayed Mumtaz Mahal in M. Sadiq's film Taj Mahal (1963). Shahzadi Mumtaz, an Indian film starring Asokan and Shakuntala released in 1977. Purnima Patwardhan portrayed her role in the 2003 Indian historical drama film, Taj Mahal: A Monument of Love. Sonya Jehan portrayed Mumtaz Mahal in Akbar Khan's film Taj Mahal: An Eternal Love Story (2005). Other Mumtaz Mahal was the inspiration behind the popular Guerlain perfume Shalimar (1921). Issue Ancestry References Bibliography External links Mumtaz Mahal 1593 births 1631 deaths Deaths in childbirth Indian Shia Muslims People from Agra Taj Mahal 16th-century Indian women 16th-century Indian people 17th-century Indian women 17th-century Indian people 16th-century Iranian people 17th-century Iranian people Indian people of Iranian descent Wives of Shah Jahan	true	[ "\"Damn, dis-moi\" (English \"Damn, Tell Me\"), also released under the title \"Girlfriend\", is a song by French singer Christine and the Queens featuring American funk musician Dâm-Funk. \"Damn, dis-moi\" is the French version and \"Girlfriend\" is the English version. Both versions were released on 17 May 2018.\n\nThe song peaked inside the top 10 of the French singles chart and was named as the best song of 2018 by Time.\n\nBackground \nLetissier announced a new tour planned for autumn 2018 and a new album, Chris.\n\nCommercial performance\n\n\"Damn, dis-moi\" \n\"Damn, dis-moi\" started at number 69 on the French Singles Chart (Downloads + Streaming) with 3,701 units, but entered at number 7 on the Sales Singles Chart (physical sales and downloads).\n\nThe single did not enter the Swiss national charts, but peaked at number 15 in Romandy.\n\n\"Girlfriend\" \n\"Girlfriend\" did not enter the French Singles Chart, but peaked at number 27 on the Sales Singles Chart and at number 26 on the Downloads Singles Chart.\n\nThe single entered at number 95 on the UK Singles Chart. It entered at number 76 on the Scottish Singles Chart.\n\n\"Damn, dis-moi\" + \"Girlfriend\" \nThe Belgian Web site Ultratop.be indicates \"Damn, dis-moi\" + \"Girlfriend\" on both the Flemish and Wallonian charts until 15 June 2018. During the first week, the single did not enter on both ultratop 50 charts, but peaked at number 22 on Wallonian Ultratip chart and at number 15 on Flemish Ultratip chart. The second week, it entered on both Ultratop 50 charts and peaked at number 21 on the Flemish chart and at number 45 on the Wallonian chart. It later reached number 13 in Wallonia, then number 10.\n\nMusic videos \nThe audio videos of two versions (French and English) were released in YouTube Christine and the Queens channel on 17 May 2018. On the picture, there is a new name \"Chris\", stylised as \"CHRISTINE AND THE QUEENS\". She also changed the title of her website. On 24 May 2018, both versions of the official video were released on her website.\n\nLive performances \nDuring BBC Radio 1's Big Weekend 2018 in Swansea, she sang several songs from her discography, including \"Girlfriend\". On 5 June 2018, Letissier again interpreted her song in the United Kingdom, during Later... with Jools Holland on the television channel BBC 2. On 8 June 2018, the singer participated in La Chanson de l'année 2018 (Song of the Year 2018) at the Arena of Nîmes, which was broadcast on the French television channel TF1. She sang the French version of the single, \"Damn, dis-moi\".\n\nReception \nThe song was acclaimed by music critics and was named as the best song of 2018 by Time. The magazine wrote:Flexing lyrically over a Michael Jackson–inspired beat, Letissier wrestles with, and ultimately rejects, gender norms. In the process, she proves that pop’s boundaries can be just as fluid as identity—if only we are bold enough to assert ourselves as she does.\n\nTrack listing\n\nDigital download – Damn, dis-moi\n\"Damn, dis-moi\" (French version) — 3:21\n\"Girlfriend\" (English version) — 3:21\n\nDigital download – Girlfriend\n\"Girlfriend\" (English version) — 3:21\n\nDigital download – Girlfriend / Damn, dis-moi (Remixes)\nGirlfriend\" (Gerd Janson's Balearic Remix Edit Version) — 3:44\t\n\"Damn, dis-moi\" (Gerd Janson's Balearic Remix Edit Version) — 3:44\t\n\"Girlfriend\" (Palms Trax Remix) — 5:25\t\n\"Damn, dis-moi\" (Palms Trax Remix) — 5:25\t\n\"Girlfriend\" (Dâm-Funk Re-Freak) — 7:28\t\n\"Girlfriend\" (Jam City Remix) —3:17\t\n\"Girlfriend\" (GODMODE Remix) — 4:28\n\nPersonnel \n Chris – vocals, drum programming\n Cole M.G.N. – drum programming\n James Manning – bass\n Marlon McClain – guitars\n David Frank – keyboards\n Dâm-Funk – vocals, keytar\n\nCharts\n\n\"Damn, dis-moi\" + \"Girlfriend\"\nWeekly charts\n\nYear-end charts\n\n\"Damn, dis-moi\"\n\n\"Girlfriend\"\n\nCertifications\n\nRelease history\n\nReferences \n\n2018 singles\n2018 songs\nChristine and the Queens songs\nSongs written by Héloïse Letissier", "Alabama Joe was a popular minstrel song of the 19th century (US).\n\nLyrics \n\nA nigger in Alabama lived, dey used to call him Joe, \nDis nigger lived to be so old, his head was white as snow. \nDis nigger, he war very rich, the poor ones liked him well, \nDey used to go to de Alabama house some stories for to tell. \n\nCHORUS.\n\nAn strike de toe an heel, my lass, an strike de heel an toe, \nMiss Phillis am a waiting for your Alabama Joe,\n\nThis old nigger built a church, a minister he hired, \nWho staid with them about four years, and quit cause he war tired, \nTheir minister good salary got, as all these niggers know, \nDe money, it war paid to him by Alabama Joe.\n\nDis made dese niggers all feel bad, to think he sarved him so, \nBut the one the shock fell worst upon was Alabama Joe. \nIn a few years after dis de good old nigger died, \nHe left three niggers all he had, and Miss Phillissy his bride.\n\nHis money he did will away to Phillissy his spouse, \nWhich caused great disturbance at dis old nigger's house. \nMiss Phillissy had him buried all under an old tree, \nAnd after dey had buried him, de niggers had a spree.\n\nA nigger in Virginia lived who heard of old Joe's death, \nAnd straight for Alabama steered, and never stopped for breath, \nHe quick made love to Phillissy who was a charming fair, \nHer eyes were bright as diamonds, and curly war her hair\n\nDis nigger war a fisherman, a fisherman ob old, \nA fishing he did go one night, and caught a beautiful cold. \nDis nigger lived in great harmony, and age did make him pine, \nFor she was only twenty-three, and he war ninety-nine,\n\nDis story that I now relate, as a good old nigger said, \nHe went one morning to their honse, and found dis couple dead, \nNow Miss Phillissy she is dead, old Joe he went before, \nDar oder niggers hab gone to, we shall see them no more.\n\nSee also \n List of blackface minstrel songs\n\nReferences \n\nBlackface minstrel songs\n19th-century songs\n1840 songs\nSongwriter unknown" ]
[ "Mumtaz Mahal", "Mughal empress", "What is Mughal empress?", "Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' (\"Queen of the World\")", "Where was she the empress?", "I don't know.", "When did she become empress?", "1628,", "How long did she serve as empress?", "\"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death),", "How did she die?", "I don't know.", "Are there any other interesting aspects about this article?", "A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court.", "What else dis she enjoy?", "Mumtaz also patronized a number of poets, scholars and other talented persons." ]	C_169ee9f3b1a14e0fa0a232da507ecea9_0	What did she do for the poor?	8	What did Mumtaz Mahal do for the poor?	Mumtaz Mahal	Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief empress with the title of 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age"). Mumtaz's tenure as empress was brief (spanning a period of only three years due to her untimely death), nonetheless Shah Jahan bestowed her with luxuries that no other empress was given before her. For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose water fountains of its own. Each wife of the Mughal emperor was given regular monthly allowance for her gastos (housekeeping or travelling expenses). The highest allowance on record is 10 lakh rupees per year given to Mumtaz Mahal under Shah Jahan. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state and she served as his close confidante and trusted adviser. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land -- his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress' favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. CANNOTANSWER	CANNOTANSWER	Mumtaz Mahal (, ), born Arjumand Banu Begum (; 27 April 1593 – 17 June 1631) was the empress consort of the Mughal Empire from 19 January 1628 to 17 June 1631 as the chief consort of the Mughal emperor Shah Jahan. The Taj Mahal in Agra, often cited as one of the Wonders of the World, was commissioned by her husband to act as her tomb. Mumtaz Mahal was born Arjumand Banu Begum in Agra to a family of Persian nobility. She was the daughter of Abu'l-Hasan Asaf Khan, a wealthy Persian noble who held high office in the Mughal Empire, and the niece of Empress Nur Jahan, the chief wife of Emperor Jahangir and the power behind the emperor. She was married at the age of 19 on 10 May 1612 or 16 June 1612 to Prince Khurram, later known by his regnal name Shah Jahan, who conferred upon her the title "Mumtaz Mahal" (Persian: the exalted one of the palace). Although betrothed to Shah Jahan since 1607, she ultimately became his second wife in 1612. Mumtaz and her husband had 14 children, including Jahanara Begum (Shah Jahan's favourite daughter), and the Crown prince Dara Shikoh, the heir-apparent, anointed by his father, who temporarily succeeded him, until deposed by Mumtaz Mahal's sixth child, Aurangzeb, who ultimately succeeded his father as the sixth Mughal emperor in 1658. Mumtaz Mahal died in 1631 in Burhanpur, Deccan (present-day Madhya Pradesh), during the birth of her 14th child, a daughter named Gauhar Ara Begum. Shah Jahan had the Taj Mahal built as a tomb for her, which is considered to be a monument of undying love. As with other Mughal royal ladies, no contemporary likenesses of her are accepted, but numerous imagined portraits were created from the 19th century onwards. She is wrongly referred to as "Taj Bibi" which was the corrupted of her title Mumtaz and was in reality the title of her mother-in-law, Jagat Gosain. Family and early life Mumtaz Mahal was born as Arjumand Banu on 27 April 1593 in Agra to Abu'l-Hasan Asaf Khan and his wife Diwanji Begum, the daughter of a Persian noble, Khwaja Ghias-ud-din of Qazvin. Asaf Khan was a wealthy Persian noble who held high office in the Mughal Empire. His family had come to India impoverished in 1577, when his father Mirza Ghias Beg (popularly known by his title of I'timad-ud-Daulah), was taken into the service of Emperor Akbar in Agra. Asaf Khan was also the older brother of Empress Nur Jahan, making Mumtaz a niece, and later, a step daughter-in-law of Nur Jahan, the chief consort of Emperor Jahangir, Shah Jahan's father. Her older sister, Parwar Khanum, married Sheikh Farid, the son of Nawab Qutubuddin Koka, the governor of Badaun, who was also the emperor Jahangir's foster brother. Mumtaz also had a brother, Shaista Khan, who served as the governor of Bengal and various other provinces in the empire during Shah Jahan's reign. Mumtaz was remarkable in the field of learning and was a talented and cultured lady. She was well-versed in Arabic and Persian languages and could compose poems in the latter. She was reputed to have a combination of modesty and candor, a woman warmly straightforward yet bemusedly self-possessed. Early in adolescence, she attracted the attention of important nobles of the realm. Jahangir must have heard about her, since he readily consented to Shah Jahan's engagement with her. Marriage Mumtaz Mahal was betrothed to Shah Jahan around 5 April 1607, when she was 14 years old at the time and he was 15. They were, however, married five years after the year of their betrothal on 10 May 1612 or 7 June 1612 in Agra. After their wedding celebrations, Shah Jahan, "finding her in appearance and character elect among all the women of the time", gave her the title "Mumtaz Mahal" Begum ("the Exalted One of the Palace"). During the intervening years between their betrothal and marriage, Shah Jahan had married his first wife, Princess Kandahari Begum in 1610 and in 1617, after marrying Mumtaz, took a third wife, Izz-un-Nissa Begum (titled Akbarabadi Mahal), the daughter of a prominent Mughal courtier. According to the official court historians, both the marriages were political alliances. By all accounts, Shah Jahan was so taken with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than dutifully siring a child with each. According to the official court chronicler, Motamid Khan, as recorded in his Iqbal Namah-e-Jahangiri, the relationship with his other wives "had nothing more than the status of marriage. The intimacy, deep affection, attention and favour which Shah Jahan had for Mumtaz exceeded what he felt for his other wives." Likewise, Shah Jahan's historian Inayat Khan commented that 'his whole delight was centered on this illustrious lady [Mumtaz], to such an extent that he did not feel towards the others [i.e. his other wives] one-thousandth part of the affection that he did for her.' Mumtaz had a loving marriage with Shah Jahan. Even during her lifetime, poets would extol her beauty, grace, and compassion. Despite her frequent pregnancies, Mumtaz travelled with Shah Jahan's entourage throughout his earlier military campaigns and the subsequent rebellion against his father. She was his constant companion and trusted confidant, leading court historians to go to unheard lengths to document the intimate and erotic relationship the couple enjoyed. In their 19 years of marriage, they had 14 children together (eight sons and six daughters), seven of whom died at birth or at a very young age. Mughal empress Upon his accession to the throne in 1628 after subduing his half brother, Shahryar Mirza, Shah Jahan designated Mumtaz as his chief empress with the title of Padshah Begum '(Lady Emperor)', 'Malika-i-Jahan' ("Queen of the World") and 'Malika-uz-Zamani' ("Queen of the Age") and 'Malika-i-hindustan' ("Queen of the Hindustan"). Mumtaz's tenure as empress was brief, spanning a period of only three years due to her untimely death, nonetheless, Shah Jahan bestowed her with luxuries that no other empress was given before her. She was also the only wife of Shah Jahan to be addressed as " Hazrat ". For example, no other empress' residence was as decorated as Khas Mahal (part of Agra Fort), where Mumtaz lived with Shah Jahan. It was decorated with pure gold and precious stones and had rose-water fountains of its own. Each wife of the Mughal emperor was given a regular monthly allowance for her gastos (housekeeping or travelling expenses); the highest such allowance on record is the one million rupees per year given to Mumtaz Mahal by Shah Jahan. Apart from this income, he gave her a lot of high-income lands and properties. Shah Jahan consulted Mumtaz in both private matters and the affairs of the state, and she served as his close confidant and trusted adviser. Whenever an official sent matters or the people made a request, he first reported the matter to the Empress and made the decision with the knowledge of understanding and consultation with her. At her intercession, he forgave enemies or commuted death sentences. His trust in her was so great that he gave her the highest honour of the land – his imperial seal, the Mehr Uzaz, which validated imperial decrees. Mumtaz was portrayed as having no aspirations to political power, in contrast to her aunt, Empress Nur Jahan, the chief consort of Emperor Jahangir, who had wielded considerable influence in the previous reign. A uncontested and great influence on him, often intervening on behalf of the poor and destitute, she also enjoyed watching elephant and combat fights performed for the court. Mumtaz also patronized a number of poets, scholars and other talented persons. A noted Sanskrit poet, Vansidhara Mishra, was the Empress's favourite. On the recommendation of her principal lady-in-waiting, Sati-un-Nissa, Mumtaz Mahal provided pensions and donations to the daughters of poor scholars, theologians, and pious men. It was quite common for women of noble birth to commission architecture in the Mughal Empire, so Mumtaz devoted some time to a riverside garden in Agra, which is now known as Zahara Bagh. It is the only architectural foundation which can be connected to her patronage. Death and aftermath Mumtaz Mahal died from postpartum hemorrhage in Burhanpur on 17 June 1631 while giving birth to her 14th child, after a prolonged labor around 30 hours. She had been accompanying her husband while he was fighting a campaign in the Deccan Plateau. Her body was temporarily buried at Burhanpur in a walled pleasure garden known as Zainabad originally constructed by Shah Jahan's uncle Daniyal on the bank of the Tapti River. The contemporary court chroniclers paid an unusual amount of attention to Mumtaz Mahal's death and Shah Jahan's grief at her demise. In the immediate aftermath of his bereavement, the emperor was reportedly inconsolable. Apparently, after her death, he went into secluded mourning for a year. When he appeared again, his hair had turned white, his back was bent, and his face worn. Mumtaz's eldest daughter, Jahanara Begum, gradually brought her father out of grief and took her mother's place at court. Mumtaz Mahal's personal fortune (valued at 10 million rupees) was divided by Shah Jahan between Jahanara Begum, who received half, and the rest of her surviving children. Burhanpur was never intended by her husband as his wife's final resting spot. As a result, her body was disinterred in December 1631 and transported in a golden casket escorted by her son Shah Shuja, the deceased empress's head lady-in-waiting, and the distinguished courtier Wazir Khan, back to Agra. There, it was interred in a small building on the banks of the Yamuna River. Shah Jahan stayed behind in Burhanpur to conclude the military campaign that had originally brought him to the region. While there, he began planning the design and construction of a suitable mausoleum and funerary garden in Agra for his wife. It was a task that would take 22 years to complete, the Taj Mahal. Taj Mahal The Taj Mahal was commissioned by Shah Jahan to be built as a mausoleum for Mumtaz Mahal. It is seen as an embodiment of undying love and marital devotion. English poet Sir Edwin Arnold describes it as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones." The beauty of the monument is also taken as a representation of Mumtaz Mahal's beauty and this association leads many to describe the Taj Mahal as feminine. Since Muslim tradition forbids elaborate decorations on graves, the bodies of Mumtaz and Shah Jahan are placed in a relatively plain crypt beneath the inner chamber with their faces turned to the right and towards Mecca. The Ninety Nine Names of God are found as calligraphic inscriptions on the sides of the tomb of Mumtaz Mahal in the crypt including, "O Noble, O Magnificent, O Majestic, O Unique, O Eternal, O Glorious…". There are many theories about the origin of the name of this tomb and one of them suggests that 'Taj' is an abbreviation of the name Mumtaz. European travelers, such as François Bernier, who observed its construction, were among the first to call it the Taj Mahal. Since they are unlikely to have come up with the name, they might have picked it up from the locals of Agra who called the Empress 'Taj Mahal' and thought the tomb was named after her and the name began to be used interchangeably, but no firm evidence suggests this. Shah Jahan had not intended to entomb another person in the Taj Mahal; however, Aurangzeb had Shah Jahan buried next to the tomb of Mumtaz Mahal rather than build a separate tomb for his father. This is evident from the asymmetrical placement of Shah Jahan's grave on one side of his wife's grave which is in the centre. In popular culture Astronomy A crater was named in her honour on asteroid 433 Eros, along with another one after her husband. A crater on the planet Venus is named after her. Literature A cat named after Mumtaz Mahal ("Princess Arjumand") plays a major role in Connie Willis's 1997 novel To Say Nothing of the Dog. Arjumand Banu (Mumtaz Mahal) is a principal character in Indu Sundaresan's novel The Feast of Roses (2003) and its sequel, Shadow Princess (2010), begins with her death. Mumtaz Mahal is a main character in Sonja Chandrachud's novel Trouble at the Taj (2011). She appears in the book as a ghost. In John Shors' novel Beneath a Marble Sky (2013), Mahal's daughter, Princess Jahanara, tells the extraordinary story of how the Taj Mahal came to be, describing her own life as an agent in its creation and as a witness to the fateful events surrounding its completion. Films Mumtaz Mahal is a 1926 Indian silent film by Homi Master. Actress Enakshi Rama Rau played the role of Mumtaz Mahal in Shiraz (1928). Mumtaz Mahal, a 1944 Indian film was based on her life. Actress Suraiya played the role of young Mumtaz Mahal in Nanubhai Vakil's film Taj Mahal (1941). Mumtaz Mahal was portrayed by actress Nasreen in Abdul Rashid Kardar's film Shahjehan (1946). Mumtaz Mahal is a 1957 Indian Hindi-language drama film by Ram Daryani, starring Veena in the titular role. Bina Rai portrayed Mumtaz Mahal in M. Sadiq's film Taj Mahal (1963). Shahzadi Mumtaz, an Indian film starring Asokan and Shakuntala released in 1977. Purnima Patwardhan portrayed her role in the 2003 Indian historical drama film, Taj Mahal: A Monument of Love. Sonya Jehan portrayed Mumtaz Mahal in Akbar Khan's film Taj Mahal: An Eternal Love Story (2005). Other Mumtaz Mahal was the inspiration behind the popular Guerlain perfume Shalimar (1921). Issue Ancestry References Bibliography External links Mumtaz Mahal 1593 births 1631 deaths Deaths in childbirth Indian Shia Muslims People from Agra Taj Mahal 16th-century Indian women 16th-century Indian people 17th-century Indian women 17th-century Indian people 16th-century Iranian people 17th-century Iranian people Indian people of Iranian descent Wives of Shah Jahan	false	[ "Charlotta \"Lotten\" Christina Wennberg (3 June 1815 in Stockholm - 4 November 1864), was a Swedish philanthropist.\n\nLotten Wennberg was the daughter of the rich landowner J. O. Wennberg. During her early life, she spent her winters in the capital, where she participated in society life, and her summers on Yxe Manor in Nora Mountain District, where she handed out supplies to the poor, as was expected from an upper class woman. However, she expanded her activity and also started collections of funds to provide poor also from neighboring parishes with supplies. In 1835, her father died: at the time of his death, his affairs was in disorder, and for a while, there were a risk that the family were to be bankrupt. This did not happen, but the risk is said to have made her decide to make philanthropy her main task in life.\n\nIn Stockholm, she was constantly active in various charitable activities, providing homes for the homeless, health care for the sick, education for children, supplies for the starved, wood for the frozen, work for the unemployed, \"with the same gravity, as if she had been appointed to this task by the state and awarded accordingly by salary\". She was to have done this with great energy and good humor: in contrast to what was usual for a contemporary philanthropist, she did not combine her help with religious preaching, but it is known that she did ask for a review from the local parish about the character from the person in question before she agreed to help. Normally, Wennberg helped by simply applying for help in the appropriate poor care, but she did also ask for funds from private contributors and occasionally provided funds herself.\n\nLotten Wennberg was a member of the Jakobs- och Johannis' församlingars Fruntimmers-Skyddsförening (The Women's Protection Society of the Jakob- and Johannis Parish) and several other of the charitable societies of the capital were women were admitted. During the cholera of Stockholm in 1853, she was the secretary in the St Jakobs församlingskomittée av den stora välgörenhetsförening för fattiga barn och nödlidande (The St Jakob Parish' Comity of the Great Charity Committee for the Poor Children and The Needing), where she is described as the leading force by Fredrika Bremer, who were also a member.\n\nHer charitable work was described by Fredrika Bremer and Emily Nonnen for Wilhelmina Stålberg, who included her in her dictionary of notable Swedish women in 1864. In 1864, Lotten Wennberg was granted a golden medal for her work in Stockholm by king Charles XV of Sweden. She died of cancer. After her death, the queen, Louise of the Netherlands, founded the charity society Lotten Wennbergs fond för hjälpbehöfvande (The Lotten Wennberg Fund for the Needing) to her memory.\n\nReferences \n Anteckningar om svenska qvinnor \n Idun Publication, Number 11, 1890\n\nFurther reading\n\n1815 births\n1864 deaths\nSwedish philanthropists\n19th-century Swedish people\n19th-century Swedish women\n19th-century philanthropists", "Bernadette Banner (born ) is an American YouTuber and former costume assistant currently based in London. She is known for her interest in and promotion of historical dress reconstruction and study of a range of historical fashion periods from the early Medieval era to World War I, with a primary focus on the Victorian and Edwardian eras. She has focused on the lack of quality in modern fast fashion. She is also known for sewing in Original Practice, the art of crafting clothes using historically informed methods and materials.\n\nA significant area investigated by Banner has been the accuracy in reproductions of historical clothing, especially in films like Little Women (2019) and Beauty and the Beast (2017). In addition, she has also been featured by Glamour as commentary for an analysis of Mary Poppins' dressing.\n\nIn 2019, a 15th-century-inspired gown Banner made was poorly copied and sold by an online merchant using Banner's photo in the sales listing. Banner bought the dress and made a public video in which she criticized its poor construction.\n\nOn her channel, Banner is an active spokesperson against the fast fashion industry, highlighting its environmental devastation and poor labor practices as reason for people to do what they can to abstain from buying clothes from such brands. In place of consuming fast fashion products, Banner has described her own move towards limiting her number of wardrobe pieces to sustainable and long-lasting garments, many of which she has created herself.\n\nBanner studied in the Design and Production Studio at Tisch School of the Arts. After that, she did an internship for Tony Award-winning costume designer Jenny Tiramani at the School of Historical Dress in London. She formerly worked as a costume assistant for Broadway, and later on a parody preview video of the Broadway musical Frozen.\n\nReferences\n\nExternal links \n\n Official website\n\n \n\n YouTube channel review in The Daily Star\n\nHistory of clothing\nFashion YouTubers\nLiving people\nFemale YouTubers\nPatreon creators\n1990s births\nFashion historians" ]
[ "Lucy Stone", "Final appearance" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	when was the final appearance?	1	When was Lucy's final appearance?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	in May, 1893	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	false	[ "Jamie Barron (21 October 1993) is an Irish hurler who plays for Waterford Senior Championship club The Nire-Fourmilewater and at inter-county level with the Waterford senior hurling team. He usually lines out as a midfielder.\n\nPlaying career\n\nUniversity College Cork\n\nBarron studied Food Business at University College Cork and joined the senior hurling team in his second year at the university. He was a regular player in several Fitzgibbon Cup campaigns.\n\nThe Nire-Fourmilewater\n\nBarron joined The Nire-Fourmilewater club at a young age and played in all grades at juvenile and underage levels as a dual player before eventually joining the club's top adult teams in Gaelic football and hurling.\n\nOn 11 November 2012, Barron was at left wing-forward when the Nire faced Stradbally in the Waterford Senior Championship final. He was held scoreless for the game which the Nire eventually lost by 1–08 to 0-10.\n\nOn 19 October 2014, Barron was at left wing-forward when the Nire defeated Stradbally by 0–11 to 0–06 to win the Waterford Championship. He lined out in the same position when the Nire faced Austin Stacks in the Munster final on 30 November 2014. Barron ended on the losing side following a 3–05 to 2–04 defeat.\n\nBarron lined out at left wing-back when the Nire faced Ballinacourty in the Waterford Senior Championship final on 6 November 2016. He ended the game with a second winners' medal following the 1–17 to 0–08 victory. Barron was switched to centre-back for the Munster final on 27 November 2016, which the Nire lost to Dr. Crokes by 3–15 to 0-06.\n\nOn 28 October 2018, Barron lined out in a fifth Waterford Senior Championship final. He scored a point from right wing-forward and collected a third winners' medal following the 0–09 to 0–07 defeat of Kilrossanty.\n\nWaterford\n\nMinor and under-21\n\nBarron first lined out for Waterford as a member of the minor team during the 2010 Munster Championship. He made his first appearance for the team on 28 April 2010 when he lined out at right corner-back in a 1–21 to 0–16 defeat of Clare. Barron was again at right wing-back when Waterford suffered a 1–16 to 1–11 defeat by Clare in the Munster final.\n\nOn 10 July 2011, Barron was at right corner-back when Waterford faced Clare in a second successive Munster final. He ended the game on the losing side following a 1–20 to 3–09 defeat.\n\nBarron joined the Waterford under-21 team in advance of the 2012 Munster Championship. He made his first appearance on 19 July 2012 when he lined out at right corner-back in a 2–22 to 0–09 defeat by Clare.\n\nDuring the 2013 Munster Championship, Barron made the transition from a defender to a forward. He made his only appearance for the team that season on 18 July when he played at left corner-forward in a 2–15 to 0–17 defeat by Clare.\n\nBarron was eligible for the under-21 team for a third a final season in 2014. He made his final appearance in the grade on 16 July 2014 in a 3–18 to 0–16 defeat by Cork.\n\nSenior\n\nBarron was added to the Waterford senior panel prior to the start of the 2013 National League. He made his first appearance for the team on 23 February 2013 when he came on as a 43rd-minute substitute in a 2–15 to 1–17 defeat of Clare. Barron made his Munster Championship debut on 2 June 2013 when he scored 0-01 from right corner-forward in a 2–20 to 1–15 defeat by Clare.\n\nOn 3 May 2015, Barron was selected at midfield when Waterford faced Cork in the National League final. He scored 0-01 from play and collected a winners' medal following the 1–24 to 0–17 victory. On 12 July 2015, Barron was again at midfield when Waterford were beaten for the fourth time in six seasons by Tipperary in the Munster final.\n\nOn 1 May 2016, Barron was at midfield when Waterford lined out in the National League final. He scored 0-01 from play as Waterford drew 0-22 apiece with Clare. He retained his midfield position for the replay, which Waterford lost by 1–23 to 2-19. On 10 July 2016, he was again at midfield when Waterford suffered a 5–19 to 0–13 defeat by Tipperary in the Munster final. Barron ended the season by being named on the All-Star team.\n\nOn 3 September 2017, Barron was selected at midfield when Waterford faced Galway in the All-Ireland final. He ended the game as a runner-up following Galway's 0–26 to 2–17 victory. Barron ended the season by securing a second successive All-Star award.\n\nOn 31 March 2019, Barron was named at midfield when Waterford faced Limerick in the National League final. He ended the game on the losing side following a 1–24 to 0–19 defeat.\n\nMunster\n\nBarron was called up to the Munster inter-provincial team in advance of the 2016 Inter-provincial Championship. He made his first appearance for the team on 11 December 2016 when he lined out at midfield in a 3–21 to 0–15 defeat of Ulster. On 15 December 2016, Barron won a Railway Cup medal after scoring a point from midfield in Munster's 2–20 to 2–16 defeat of Leinster in the final.\n\nCareer statistics\n\nHonours\n\nThe Nire\nWaterford Senior Football Championship (3): 2014, 2016, 2018\n\nWaterford\nNational Hurling League (1): 2015\n\nMunster\nRailway Cup (1): 2016\n\nIndividual\nAll Star Award (3): 2016, 2017, 2020\n\nReferences \n\n1993 births\nLiving people\nUCC hurlers\nThe Nire Gaelic footballers\nFourmilewater hurlers\nWaterford inter-county hurlers", "Tom Condon (born 9 November 1987) is an Irish hurler who plays for Limerick Intermediate Championship club Knockaderry. He is a former player with the Limerick senior hurling team, with whom he usually lines out as a right corner-back.\n\nPlaying career\n\nKnockaderry\n\nCondon joined the Knockaderry club at a young age and played in all grades at juvenile and underage levels before joining the club's top adult team.\n\nLimerick\n\nMinor and under-21\n\nCondon first lined out for Limerick as a member of the minor team during the 2005 Munster Championship. He made his first appearance on 4 May when he lined out at left corner-back in a 2-14 to 1-06 defeat of Tipperary. Condon was again at left corner-back on 26 June when Limerick suffered a 2-18 to 1-12 defeat by Cork in the Munster Championship final. Limerick subsequently qualified for the All-Ireland final on 11 September. Condon was again at left corner-back for the 3-12 to 0-17 defeat by Galway, in what was his last game in the minor grade.\n\nAfter progressing onto the Limerick under-21 team, Condon was included on the panel for the 2007 Munster Championship. He made his first appearance on 11 July when he lined out at full-back in Limerick's 2-14 to 2-10 defeat by Waterford.\n\nCondon was eligible for the under-21 grade again the following year. On 17 July 2008, he made his last appearance for the team when he lined out at full-back in Limerick's 1-13 to 0-15 defeat by Tipperary in the Munster Championship semi-final.\n\nIntermediate\n\nCondon was added to the Limerick intermediate team for the 2007 Munster Championship. He made his first appearance on 10 June when he lined out at right corner-back in Limerick's 0-17 to 0-15 defeat of Tipperary. On 7 July, Condon started the Munster Championship final on the bench, however, he was introduced as a substitute in the 5-11 to 1-12 defeat by Waterford.\n\nCondon was retained on the Limerick intermediate team for the 2008 Munster Championship. On 31 July, he won a Munster Championship medal when he lined out at right corner-back in Limerick's 2-16 to 2-12 defeat of Tipperary in the final. Limerick subsequently qualified for the All-Ireland final on 30 August. Condon was again at right corner-back for the 1-16 to 0-13 defeat by Kilkenny.\n\nSenior\n\nOn 8 February 2009, Condon made his first appearance for the Limerick senior team when he lined out at left corner-back in a 3-13 to 1-18 defeat of Clare in the National League. He made his first Munster Championship appearance on 20 June when he came on as a 60th-minute substitute for Mark O'Riordan in a 0-25 to 0-17 defeat by Waterford in a semi-final replay. At the end of a disappointing season, Limerick manager Justin McCarthy dropped several high-profile players from the panel. Over the course of the winter, many more players, including Condon, withdrew from the panel and refused to play while McCarthy and his management team remained in place. The Limerick County Board refused to remove McCarthy and contested the 2010 season with a new group of players.\n\nCondon returned to the panel the following year and made his first appearance under new manager Dónal O'Grady on 6 March 2011 in a 1-25 to 2-11 National League defeat of Down. On 30 April, he was at right corner-back when Limerick defeated Clare by 4-12 to 2-13 to win the Division 2 title. Condon ended the season by being one of three Limerick nominees for an All-Star.\n\nOn 14 July 2013, Condon lined out in his first Munster Championship final. He was at left corner-back for Limerick's 0-24 to 0-15 defeat of Cork and a first title in 17 years. Condon ended the season by being nominated for an All-Star.\n\nIn July 2018, Condon received a two-match suspension after receiving a red card for jabbing the butt of his hurley into David Reidy's midriff in a 0-26 to 0-15 Munster Championship defeat by Clare. On 19 August, Condon was introduced as a 72nd-minute substitute for Richie English when Limerick won their first All-Ireland title in 45 years after a 3-16 to 2-18 defeat of Galway in the final.\n\nOn 31 March 2019, Condon was selected at right corner-back for Limerick's National League final meeting with Waterford at Croke Park. He collected a winners' medal following the 1-24 to 0-19 victory. On 30 June 2019, Condon won his first Munster Championship medal in six years when he was a non-playing substitute in Limerick's 2-26 to 2-14 defeat of Tipperary in the final.\n\nIn January 2021, Condon announced his retirement form inter-county hurling.\n\nMunster\n\nCondon was first selected for the Munster inter-provincial team for the 2012 Inter-provincial Championship. He made his first appearance on 19 February when he lined out at left corner-back in a 3-14 to 1-16 defeat by Leinster in the semi-final.\n \nCondon was selected for the Munster team again the following year. On 3 March 2013, he won a Railway Cup medal when he lined out at full-back in Munster's 1-22 to 0-15 defeat of Connacht in the final.\n\nFor the third year in succession, Condon was selected for the Munster team. On 9 February 2014, he was at right corner-back when Munster suffered a 1-18 to 0-16 defeat by an all-Galway Connacht side in the semi-final.\n\nAfter a one-year hiatus to the competition, Condon was back on the Munster panel for the 2016 Championship. On 15 December he was an unused substitute when Munster defeated Leinster by 2-20 to 2-16 to win the Railway Cup.\n\nPersonal life\n\nCondon is married to Limerick camogie player Sarah Carey.\n\nCareer statistics\n\nHonours\n\nLimerick\nAll-Ireland Senior Hurling Championship (2): 2018, 2020\nMunster Senior Hurling Championship (2): 2019, 2020\nNational Hurling League (2): 2019, 2020\nNational Hurling League Division 2 (1): 2011\nMunster Senior Hurling League (2): 2018, 2020\nWaterford Crystal Cup (1): 2015\nMunster Intermediate Hurling Championship (1): 2008\n\nMunster\nRailway Cup (2): 2013, 2016\n\nReferences\n\nExternal links\n\n Tom Condon prolfile at the Limerick GAA website\n\n1987 births\nLiving people\nKnockaderry hurlers\nLimerick inter-county hurlers\nMunster inter-provincial hurlers\nAll-Ireland Senior Hurling Championship winners" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	where was the final appearance?	2	Where was Lucy's final appearance?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	at the World's Congress of Representative Women	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "The 1912 German football championship, the 10th edition of the competition, was won by Holstein Kiel, defeating Karlsruher FV 1–0 in the final.\n\nIt was Kiel's sole German championship win, previously having made a losing appearance in the 1910 final. Holstein Kiel made one more final appearance, in 1930, where it lost to Hertha BSC. For Karlsruher FV it was the last final appearance for the club, having previously defeated Kiel in the 1910 final and lost the 1905 one to Union 92 Berlin.\n\nKarlsruhe's Fritz Förderer was the top scorer of the 1912 championship with six goals.\n\nEight clubs qualified for the competition played in knock-out format, the champions of each of the seven regional football championships as well as the defending German champions.\n\nQualified teams\nThe teams qualified through the regional championships:\n\nCompetition\n\nQuarter-finals\nThe quarter-finals, played on 5 and 12 May 1912:\n\n\|}\n\nSemi-finals\nThe semi-finals, played on 19 May 1912:\n\n\|}\n\nFinal\n\nReferences\n\nSources\n kicker Allmanach 1990, by kicker, page 160 to 178 – German championship\n Süddeutschlands Fussballgeschichte in Tabellenform 1897-1988 History of Southern German football in tables, publisher & author: Ludolf Hyll\n\nExternal links\n German Championship 1911–12 at weltfussball.de \n German Championship 1912 at RSSSF\n\nGerman football championship seasons\n1\nGerman", "The 2015 Hazfi Cup Final was the 28th final since 1975. The match was contested by Zob Ahan and Naft Tehran at Takhti Stadium in Tehran. The match was played on 1 June 2015 and was the final match of the competition. Zob Ahan won 3–1 and won their third title in the competition. They also qualified for the group stages of the 2016 AFC Champions League.\n\nFormat\nThe tie was contested over one legs, simply to last edition. If the teams could still not be separated, then extra time would have been played with a penalty shootout (taking place if the teams were still level after that).\n\nPre-match\n\nMatch history\nThis was Zob Ahan's fourth Hazfi final and Naft Tehran's first appearance in the final match of the tournament. Zob Ahan lastly won the cup in 2002–03 and 2008–09. Their other final appearance was in 2000–01 season where they lost to Fajr Sepasi.\n\nTicketing\nTicket prices for the final was 2,000 toman. 50% of the stadium were belongs to the Zob Ahan's fans and others were belong to Naft Tehran's fans.\n\nVenue\nThe final was decided with draw which 30,122 capacity Takhti Stadium (the Naft Tehran's home Stadium) was announced as the venue for the final.\n\nOfficials\nFIFA listed referee, Mohsen Torky was announced as the final match referee by IRIFF's referees committee. Mohammad Reza Abolfazli and Hassan Zahiri assisted him. was also fourth official.\n\nDetalis\n\nSee also \n Persian Gulf League 2014–15\n 2014–15 Azadegan League\n 2014–15 Iran Football's 2nd Division\n 2014–15 Iran Football's 3rd Division\n 2014–15 Hazfi Cup\n Iranian Super Cup\n 2014–15 Iranian Futsal Super League\n\nReferences\n\n2015\nHazfi\nZob Ahan Esfahan F.C." ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	what was the reason for the congress?	3	What was the reason for the congress of Representative Women?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	focus was on state referenda under consideration in New York and Nebraska.	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "Ba () is a village in the municipality of Ljig in central Serbia. According to the 2002 census, the village has a population of 605. It lies below Mount Suvobor.\n\nDuring World War II, Ba was a stronghold of the Serbian royalist Chetnik movement. Between 25 and 28 January 1944, Chetniks led by Draža Mihailović met there for discussion in what became known as the Ba Congress. For that reason the village was neglected by post-war Communist authorities.\n\nSee also\n List of short place names\n\nReferences\n\nPopulated places in Kolubara District", "Edward Wilson McGaughey (January 16, 1817 – August 6, 1852) was a U.S. Representative from Indiana.\n\nMcGaughey was born near Greencastle, Indiana and attended the public schools. He was the Deputy clerk of Putnam County. He was admitted to the bar in 1835 and commenced practice in Greencastle, Indiana. He served as a member of the Indiana House of Representatives in 1839 and 1840.\n\nIn 1842 McGaughey was prosecutor in the notable murder trial of Noah Beauchamp. He successfully got a conviction and death sentence for Beauchamp, which was the first legal execution in that county.\n\nHe served in the Indiana State Senate for the session from December 5, 1842 to February 13, 1843. He resigned before the beginning of the next session, and was an unsuccessful candidate for election to the Twenty-eighth Congress.\n\nHe was elected as a Whig to the Twenty-ninth Congress (March 4, 1845 – March 3, 1847). He was an unsuccessful candidate for reelection in 1846 to the Thirtieth Congress. He moved to Rockville, Indiana, in 1846 and resumed the practice of law.\n\nMcGaughey was elected to the Thirty-first Congress (March 4, 1849 – March 3, 1851), and was an unsuccessful candidate for reelection in 1850 to the Thirty-second Congress. While in Congress he voted for the Fugitive Slave Act, being only one of three Whigs who did so. He was nominated by President Taylor as Governor of Minnesota Territory in 1849, but the Senate failed to confirm the nomination.\n\nHe moved to California in 1852. He died in San Francisco, California on August 6, 1852, and was interred in Yerba Buena Cemetery.\n\nFor a time, Edward McGaughey’s political career paralleled that of Abraham Lincoln. McGaughey, the only Whig in Indiana’s ten-man Congressional delegation, served in the 29th and 31st Congresses. Lincoln, the only Whig in Illinois’ seven-man delegation, served in the 30th Congress.\n\nThe two men were also candidates for appointment to become territorial governor when a Whig, Zachary Taylor, was elected President of the United States. McGaughey was President Taylor’s choice for territorial governor of Minnesota. The U.S. Senate failed to confirm the nomination because McGaughey had voted against a bill authorizing supplies for the Mexican war. Lincoln was President Taylor’s choice to become territorial governor of Oregon. Lincoln turned the appointment down because his wife, Mary, did not want to live so far away from civilization.\n\nLincoln wanted President Taylor to appoint him commissioner of the General Land Office but the position was not offered. Lincoln wrote to his law partner, Joshua Speed: “I believe that, so far as the whigs in congress, are concerned, I could have the Genl. Land Office almost by common consent; but then Sweet, and Don: Morrison, and Browning, and Cyrus Edwards all want it. And what is worse, while I think I could easily take it myself, I fear I shall have trouble to get it for any other man in Illinois. The reason is, that McGaughey, an Indiana ex-member of congress is here after it; and being personally known, he will be hard to beat by anyone who is not.”\n\nReferences\n\nIndiana Whigs\nMembers of the United States House of Representatives from Indiana\nWhig Party members of the United States House of Representatives\nIndiana state senators\nMembers of the Indiana House of Representatives\nPeople from Putnam County, Indiana\nPeople from Rockville, Indiana\n1817 births\n1852 deaths\n19th-century American politicians" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska." ]	C_21eee70d059d4a70a17834a13b9ddc57_0	why was it the final appearance?	4	Why was the congress Lucy's final appearance?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	Stone was diagnosed as suffering from advanced stomach cancer	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "The men's 100 metre backstroke was a swimming event held as part of the swimming at the 1932 Summer Olympics programme. It was the sixth appearance of the event, which was established in 1908. The competition was held from Wednesday August 10, 1932 to Friday August 12, 1932.\n\nSixteen swimmers from nine nations competed.\n\nMedalists\n\nRecords\nThese were the standing world and Olympic records (in minutes) prior to the 1932 Summer Olympics.\n\nResults\n\nHeats\n\nWednesday August 10, 1932: The fastest two in each heat and the fastest third-placed from across the heats advanced to the final.\n\nHeat 1\n\nHeat 2\n\nHeat 3\n\nHeat 4\n\nSemifinals\n\nThursday August 11, 1932: The fastest three in each semi-final advanced to the final.\n\nSemifinal 1\n\nSemifinal 2\n\nFinal\n\nFriday August 12, 1932: Ernst Küppers who seems to be the main rival of the Japanese swimmers committed a false start, maybe this was the reason why he was only able to finish fifth.\n\nReferences\n\nExternal links\nOlympic Report\n \n\nSwimming at the 1932 Summer Olympics\nMen's events at the 1932 Summer Olympics", "Greece competed at the 1920 Summer Olympics in Antwerp, Belgium. 47 competitors, all men, took part in 34 events in 8 sports. Greek athletes have competed in every Summer Olympic Games.\n\nMedalists\n\nAquatics\n\nWater polo\n\nGreece competed in the Olympic water polo tournament for the first time in 1920. The Bergvall System was in use at the time. Greece was shut out by the United States in the quarterfinals. It is unclear why the Greeks received a place in the third-place tournament, as the Americans had not won either gold or silver, but Greece beat Italy in the quarterfinals of the bronze medal tournament before losing again to the United States in the bronze semifinals.\n\n Quarterfinals\n\n Bronze medal quarterfinals\n\n Bronze medal semifinals\n\n Final rank 5th\n\nAthletics\n\nNine athletes represented Greece in 1920. It was the nation's sixth appearance in athletics, having competed in the sport at every Olympics. The Stockholm Games were only the second time that no Greek won a medal in athletics.\n\nRanks given are within the heat.\n\nFencing\n\nThree fencers represented Greece in 1920. It was the nation's third appearance in the sport.\n\nRanks given are within the group.\n\nFootball\n\nGreece competed in the Olympic football tournament for the first time. The country was defeated in the first round by Sweden.\n\n Team Roster\nIoannis Andrianopoulos\nTheodoros Dimitriou\nAntonios Fotiadis\nAgamemnon Gilis \nDimitrios Gotis \nGeorgios Kalafatis\nNikolaos Kaloudis\nGeorgios Khatziandreou\nApostolos Nikolaidis\nTheodoros Nikolaidis\nKhristos Peppas\nReserve:Dimitris Demertzis \nReserve:Ioannis Stavropoulos \nReserve:Vassilis Samios \nReserve:Sotiris Despotopoulos \nReserve:Georgio Andrianopoulos\n\n First round\n\nFinal rank 10th\n\nShooting\n\nNine shooters represented Greece in 1920. It was the nation's fourth appearance in the sport. Greece took a silver medal in the team military pistol, its first medal in shooting since 1896.\n\nTennis\n\nA single tennis player, in the men's singles, competed for Greece in 1920. It was the nation's second appearance in the sport, and first since 1896. Zerlentis lost his first match, though that single match took 66 games over 4 sets to complete.\n\nWeightlifting\n\nA single weightlifter represented Greece in 1920. It was the nation's third appearance in the sport, in which Greece was the only country to have competed at both prior appearances in 1896 and 1900.\n\nWrestling\n\nFive wrestlers competed for Greece in 1920. It was the nation's third appearance in the sport. Notaris was the only one to win a match. Both Dialetis and Vergos competed in both freestyle and Greco-Roman.\n\nFreestyle\n\nGreco-Roman\n\nReferences\n\nExternal links\n \n \nInternational Olympic Committee results database\n\nNations at the 1920 Summer Olympics\n1920\nOlympics" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska.", "why was it the final appearance?", "Stone was diagnosed as suffering from advanced stomach cancer" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	what did she do at the conference?	5	What did Lucy do at the conference?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	Stone presented a speech she had prepared entitled "The Progress of Fifty Years	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "Elisabeth May Adams Craig (December 19, 1889 in Coosaw Mines, South Carolina – July 15, 1975 in Silver Spring, Maryland) was an American journalist best known for her reports on the Second World War, Korean War and U.S. politics. She was a member of the National American Woman Suffrage Association, and was also a campaigner for equality in children's education.\n\nAlthough May Craig was a Southerner, she got her break in journalism working for the Maine-based Guy Gannett chain of newspapers (including the Portland Press Herald). She became the company's Washington correspondent, and wrote her Inside Washington column for almost fifty years. She took on leadership roles within both the Women's National Press Club and Eleanor Roosevelt's Press Conference Association, both organisations supporting women in journalism.\n\nDuring the Second World War, Craig secured a succession of postings to Europe. From this vantage point, she gave eyewitness accounts of the V-bomb attacks on London, the Battle of Normandy and the liberation of Paris. During the war, she constantly battled with the male military commanders and male journalists to have access to the news. One of her best-known quotations is a reference to facilities, the lack of which was often given as reason for not allowing Craig to follow up on the news. She joked that, \"Bloody Mary of England once said that when she died they would find Calais graven on her heart\" (in reference to a key French outpost lost during Mary's reign); \"When I die, there will be the word facilities, so often it has been used to prevent me from doing what men reporters could do.\" May Craig married Donald A. Craig.\n\nCraig was second in the number of appearances on \"Meet the Press\" behind David Broder. Craig always wore a hat and gloves on the program, according to her, \"so that people would remember who she is.\"\n\nTranscript of May Craig at a White-House press conference\n\nThis is a transcript of a press conference held by Franklin D. Roosevelt on December 9, 1941, at 4:10 p.m. It was the first American news conference of the war.\n\nMISS MAY CRAIG: You've got a new system out there. (Referring to security at the entrance.)\n\nTHE PRESIDENT: What?\n\nMISS MAY CRAIG: A new system out there. It's going to take a long time to get in.\n\nTHE PRESIDENT: What's that? What do you have to do? Have they frisked you? (Laughter)\n\nMISS MAY CRAIG: Practically.\n\nTHE PRESIDENT: Now May, I don't think that's nice.\n\nMISS MAY CRAIG: They did Fred Hale once.\n\nTHE PRESIDENT: I will have to hire a female Secret Service agent around here to do the frisking.\n\nMISS MAY CRAIG: Remember the time they frisked Senator Hale at a reception?\n\nTHE PRESIDENT: Terribly funny.\n\nMISS MAY CRAIG: He never got over it.\n\nTHE PRESIDENT: He never got over it.\n\nMISS MAY CRAIG: The sacred Hale person.\n\nTHE PRESIDENT: He was here before you and I were born. (Pause here as newspapermen continue to file in.)\n\n...\n\nTHE PRESIDENT: Well, the only thing I can think of is—on that—you know occasionally I have a few people in to dinner, and generally in the middle of dinner some—I know she isn't—it isn't an individual, it's just a generic term—some \"sweet young thing\" says, \"Mr. President, couldn't you tell us about so and so?\"\n\nWell, the other night this \"sweet young thing\" in the middle of supper said, \"Mr. President, couldn't you tell us about the bombing? Where did those planes start from and go to?\" And I said, \"Yes. I think the time has now come to tell you. They came from our new secret base at Shangri-La!\" (Laughter)\n\nAnd she believed it! (More laughter)\n\nQ: Mr. President, is this the same young lady you talked about -- (Loud laughter interrupted)\n\nTHE PRESIDENT: No. This is a generic term. It happens to be a woman.\n\nMISS MAY CRAIG: Is it always feminine? (Laughter)\n\nTHE PRESIDENT: What?\n\nMISS MAY CRAIG: Is it always feminine? (Loud Laughter)\n\nTHE PRESIDENT: Now May, why did you ask me that?\n\nMISS MAY CRAIG: I wondered.\n\nTHE PRESIDENT: I call it a \"sweet young thing.\" Now when I talk about manpower that includes the women, and when I talk about a \"sweet young thing,\" that includes young men. (Again loud laughter)\n\nExternal References\n Press Conference with Lyndon Johnson, 1965-07-28, appearing at 35:43, asking about presidential authority needed to fight in Vietnam\n\nSources\n Library of Congress article on May Craig, June 19, 2006\n\n1889 births\n1975 deaths\nAmerican women journalists\nAmerican women's rights activists\nAmerican feminists\nAmerican reporters and correspondents\nAmerican women civilians in World War II", "Leopoldine Kulka (31 March 1872 – 2 January 1920) was an Austrian writer and editor. As editor of Neues Frauenleben she controversially met women from combatant countries at the 1915 Women's conference at the Hague.\n\nLife\nKulka was born in Vienna in 1872. She joined the radical General Austrian Women's Association (GAWA) before she was thirty. She also became interested in peace issues at the start of the century. She was writing regularly for political magazines for women. In 1902 Auguste Fickert started an Austrian magazine which she called Neues Frauenleben, and after her death (1910) Kulka became its editor together with Christine Touallion and Emil Fickert. In 1904 she and Adele Gerber went to Berlin to help found the International Women's Suffrage Alliance.\n\nIn 1911, she became vice-president of the GAWA.\n\nIn 1914, she had helped translate Women and Labour by Olive Schreiner into German. The South African Schreiner argued that women understood the value of life more than men.\n\nDespite a lot of debate about the value of a women's peace conference, she was the delegate chosen in 1915. She traveled to The Hague where she represented Austria at the Women at the Hague conference. This was during the first World War but even then she raised 1,000 signatures of support. She and Olga Meser were supported by the magazine Neues Frauenleben. On their return they both made reports to the magazine about the conference noting the difficulties that some delegates had in attending the conference. The delegation from Britain was trimmed by the Foreign Office to 24 delegates and actually only two made it to the Hague. Italy only managed one delegate, Rosa Genoni, and she was keen to note that she did not represent her country. Laura Hughes came from Canada to represent what was called at the time \"the Colonies\".\n\nIn 1917, she led the peace section of the GAWA. In 1919 the war had finished and Kulka horrified Jane Addams and other delegates as she described the demoralising effects of starvation.\n\nKulka died in Vienna in 1920.\n\nReferences\n\n1872 births\n1920 deaths\nWriters from Vienna\nAustrian pacifists\nAustrian women writers\n20th-century Austrian women writers\nAustrian translators\nUniversity of Vienna faculty\n20th-century translators" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska.", "why was it the final appearance?", "Stone was diagnosed as suffering from advanced stomach cancer", "what did she do at the conference?", "Stone presented a speech she had prepared entitled \"The Progress of Fifty Years" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	what did she say in the speech?	6	what did Lucy say in the speech?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	said "I think, with never-ending gratitude, that the young women of today do not and can never know	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "A verbum dicendi (Latin for \"word of speaking\" or \"verb of speaking\"), also called verb of utterance, is a word that expresses speech or introduces a quotation. English examples of verbs of speaking include say, utter, ask and rumble. Because a verbum dicendi (\"verb of speaking\") often introduces a quotation, it may grammaticalize into a quotative.\n\nThe plural of verbum dicendi is verba dicendi.\n\nComplement of a verbum dicendi: direct and indirect speech \nA complement of a verbum dicendi can be direct or indirect speech. Direct speech is a single unit of linguistic object that is '\"mentioned\" rather than used.' In contrast, indirect speech is a proposition whose parts make semantic and syntactic contribution to the whole sentence just like parts of the matrix clause (i.e. the main clause/sentence, as opposed to an embedded clause).\n\nCross-linguistically, there are syntactic differences between direct and indirect speech, which include verbatimness, interpretations of deictic expressions, tense, presence or absence of complementizers, and syntactic opacity.\n\nThe complement clause may or may not be verbatim \n\nIf a complement of a verbum dicendi is direct speech, it is presented as a faithful report of what the original speaker exactly said. In the following examples, the first means that \"I will go to Tokyo\" was the exact sentence that John uttered. In the second, on the other hand, John might have uttered a different sentence, for example, \"I'll spend my vacation in Tokyo.\"a. John said (to me): \"I will go to Tokyo\"b. John said (to me) that he would go to Tokyo.\n\nIndexicals in the complement clause may or may not be utterance-bound \n\nIf a complement of a verbum dicendi is direct speech, deictic expressions in the complement are interpreted with respect to the context in which the original sentence was uttered. In (2)a, the embedded clause is direct speech; the first person pronoun I and the second person pronoun you in \"Ii will give youj a hand\" respectively refer to the utterer and the addressee in the context in which this quoted speech was uttered. In contrast, if the embedded clause is indirect speech, all deictic expressions in the sentence are interpreted in the context in which the matrix clause is uttered. In (2)b, the embedded clause is indirect speech, so all the occurrences of the first person pronoun me and the second person pronoun you in the sentence respectively refer to the utterer and the addressee in the immediate context in which 2(b) is uttered.(2)a. Youi said to mej: \"Ii will give youj a hand.\"(2)b. Youi said to mej that youi would give mej a hand.\n\nSequence of tense \nSome languages, including English, show difference in tense between direct and indirect quotes. This phenomenon is formalized as \"the sequence of tense rules.\"\n\nComplementizer \nIn some languages, the distinction between direct and indirect speech can be diagnosed by presence of an overt complementizer. Many languages, including English, have an overt complementizer (e.g. that in English) when the complement of a verbum dicendi is indirect speech, as seen in (1)b and 2(b) above. Some languages, such as Tikar, on the other hand, use an overt complementizer to introduce indirect speech.\n\nSyntactic opacity \nIf a complement of a verbum dicendi is direct speech, it is \"syntactically opaque,\" meaning that syntactic elements inside this embedded clause cannot interact with elements in the matrix clause.\n\nFor example, Negative Polarity Items (NPI) inside an embedded direct quote cannot be licensed by a syntactic element in the matrix clause.(3)a. ?Nobody said \"we saw anything.\"(3)b. Nobody said that they had seen anything.Note that (3)a is still syntactically well-formed but cannot communicate the same meaning as (3)b, in which the NPI anything inside the embedded indirect quote [they had seen anything] is licensed by nobody in the matrix clause.\n\nAnother example is that wh-movement out of an embedded direct quote is prohibited, as seen in (4)a below.(4)a. What did John say: \"I read _\"?(4)b. What did John say that he had read _?\n\nIn English \n\nIn English, verba dicendi such as say and think are used to report speech and thought processes.\n\n (1)a. If you touched a one they would say ‘wey you’re on’. (UK)\n b. And I thought ‘Well we need some more popcorn’. (US)\n\nSuch examples are prototypical, but many variants exist within an open class of manner-of-speaking verbs, such as ask, shout, scream, wonder, yell, holler, bellow, grunt, mumble, mutter, etc. These may be considered semantically more specific, implying a clause type (as in ask) or indicating the intensity or prosody of the reported material (e.g. shout, mutter).\n\nQuotation indicates to a listener that a message originated from a different voice, and/or at a different time than the present. An utterance like “Jim said ‘I love you’” reports at the present moment that Jim said “I love you” at some time in the past. Thus, there are two distinct active voices: that of the narrator and that of the reportee.\nWritten English often employs manner-of-speaking verbs or verba dicendi in conjunction with quotation marks to demarcate the quoted content. Speakers use more subtle phonetic and prosodic cues like intonation, rhythm, and mimesis to indicate reported speech.\n\nProperties\nThere are numerous syntactically and semantically relevant properties of verba dicendi and manner-of-speaking verbs, several of which are highlighted below:\n\ni. They are so-called Activity Verbs. They may occur in progressive and imperative forms, among other tests:\n (2)a. He was shouting obscenities.\n b. Yell to George about the new quota.\n c. What John did was lisp French to Mary.\nii. The subject of verba dicendi is normally sentient:\n (3)a. My father howled for me to pick up the chair.\n b. My desk howled for me to pick up the chair.\n\nHowever, it is possible, at least colloquially, to assign the subject role of some verba dicendi to abstracta. An expression like \"When you're late, it says you don't care\" could be one such example.\n\niii. Verba dicendi may have an indirect object, which may be marked by to and which is also normally sentient:\n (4)a. Scream ‘Up the Queen’ (to the first person who passes)\n b. She will howl 'O my stars and garters' to the essence of friendship\niv. Manner-of-speaking verbs may have a direct object, which may be a noun describing the speech act itself, a desentential complement (that-clause, indirect question or infinitive), or a direct quotation:\n (5)a. Hoffman will probably mutter a foul oath.\n b. Martin shrieked that there were cockroaches in the caviar.\n c. Regrettably, someone mumbled, “I suspect poison.”\nFurther, the direct object of some manner-of-speaking verbs may be deleted, resulting in a sentence that does not indicate an act of communication, but rather a description of the sound made:\n d. My companion shrieked.\nOther verba dicendi do not permit this, however. Say, ask, tell, for instance, cannot occur freely without an object:\n e. Said John\nSpeak may occur without an object. In fact, its occurrence with an object is restricted. A that-clause, for example, is ungrammatical:\n f. Margaret spoke (to me)\n g. Margaret spoke that there were cockroaches in the caviar\nv. Some manner-of-speaking verbs may occur with directional adverbials, which cannot co-occur with indirect objects:\n (6)a. He bellowed at us (to Sam)\nOther verba dicendi cannot occur in at constructions:\n b. She {said/remarked/declared} (something) at me\nvi. Some manner-of-speaking verbs may have a nominal (noun) counterpart which sounds the same, but which has no communicative content, such as mutter, bellow, shriek, whine and whisper. Notice that other verba dicendi do not have these homophonous nouns (e.g. speak/speech, tell/tale, declare/declaration).\nThere are many such observations. Another property of verbs of speaking is the lack of so-called factivity effect; in other words, the speaker is not required to actually believe what they are saying. This has implications for the truth conditions of quotative constructions:\n (7) Mary says that Paul is her friend.\nMary's statement may be false, though it may be true that she actually said it. In fact, she may even believe it to be false. However, whether or not believing is part of speaking has been debated for some time.\n\nSyntax\n\nThe syntax of quotation and verba dicendi appears at first glance to be a straightforward case of transitivity, in which the quoted material is interpreted as a direct object. In a case like\n (8) Jim said “I love you”\n\nthe traditionally held analysis takes the reported clause “I love you” to be the complement of say. Thus the quote is termed an NP (noun phrase) and introduced as a direct object.\n\nThis analysis is supported by some of the typical syntactic tools for testing direct objects, such as moving into the focus of a question and clefting. However, constituency, movement and replacement tests show that the quotative clause does not behave like a normal transitive construction. For example, clefting and passivization of these forms give marked (ungrammatical, or strange at least) results:\n (9)a. ?“I’ll call you” was said by Pat\n cf. The cat was held by Pat\n b. ?What Pat did with “I’ll call you” was say it\n cf. What Pat did with the cat was hold it\nQuotation may also be less restricted than ordinary transitive verbs. They may occur parenthetically, unlike other verbs:\n (10)a. “I’ll call you” Pat said “and I hope you answer”\n cf. ?The cat Pat held and a book\n b. “I” Pat said “will call you and I hope you answer”\n cf. The Pat held cat and a book\nAnother issue is that manner-of-speaking verbs are not always obligatorily transitive. Verbs like think, laugh, scream, yell, whisper may be intransitive.\nA different model has been proposed, which does not rely on transitivity, but rather an asymmetrical construction containing a reporting clause (head) and an independent reported clause. Note that the asymmetry arises from the fact that the reporting clause is dependent on the quoted content for grammaticality, while the reverse is not true.\n (11)a.I said\n b.“I love you”\nIn this model, the dependent clause has a site of elaboration (e-site) which is filled by the independent clause:\n HEAD[Pat said e-site] COMPLEMENT[“I’ll call you”]\n HEAD[Pat thought e-site] COMPLEMENT[“I’ll call you”]\n HEAD[Pat was like e-site] COMPLEMENT[“I’ll call you”]\n\nDirect/indirect quotation\nDirect quotation is reported from the perspective of the experiencer: \n (12) He said “I am leaving now”\nHowever, indirect quotation is often paraphrased, and reported by a narrator from the perspective of the reportee. Verbs like ask and tell are frequently associated with indirect speech. English indirect quotation also shows a sequence-of-tense effect: a past tense reporting verb requires a \"back-shift\" in verb tense within the indirect quote itself\n (13)a. He said \"I am leaving now\"\n b. He said (that) he was leaving immediately\nIndirect quotation is, in theory, syntactically constrained and requires that the quoted content form a subordinate clause under the CP node. However, what is heard in speech does not necessarily conform to theory. The complementizer that, though considered to be a marker of indirect quotation, is not obligatory and is often omitted. Further, it can (and does) occur with direct quotes in some dialects of English (e.g. Hong Kong, Indian). \nVerbs of speaking often employ the Conversational Historical Present tense, whereby actions in the past are referred to with present-tense morphology. This is considered to add immediacy or authority to the discourse. However, it also illustrates the difficulty in differentiating direct and indirect quotation. \n (14) So uh ... this lady says ... uh this uh Bert (‘)His son’ll make them. He’s an electrician(‘)\n\nInverted constructions\nSentences with verba dicendi for direct quotation may use the somewhat antiquated verb-first (V2) order of English syntax. Inversion of this type with verbs of speaking or thinking frequently occurs in written English, though rarely in spoken English. It is also possible to invert the clause without changing subject-verb order. This is not possible with regular English transitives:\n (15)a. “No no no” said Harry\n b. “You’re not drunk” she says \n cf. The cat held Pat (where Pat did the holding)\nThere are several restrictions, however. For example, quantifiers may occur to the right of the subject in a non-inverted quotative sentence, but not in an inverted sentence. They can, however, occur to the immediate left of the subject in an inverted sentence:\n (16)a.”We must do this again”, the guests all declared to Tony\n b.”We must do this again”, declared all the guests to Tony\n c.”We must do this again”, declared the guests all to Tony\nInversion and negation with verba dicendi may co-occur only if the reporting clause itself is not inverted: \n (17)a.“Let’s eat”, said John just once\n b.“Let’s eat”, John didn't just say once\n c.”Let’s eat”, said not John just once\n d.”Let’s eat”, not said John just once\nOther constraints involve subject position, DP direct objects, and movement, among others.\n\nGrammaticalization\nGrammaticalization is the attribution of grammatical character to a previously independent, autonomous word. There is significant cross-linguistic evidence of verba dicendi grammaticalizing into functional syntactic categories. For instance, in some African and Asian languages, these verbs may grammaticalize into a complementizer. In other East African languages, they may become markers of Tense-Aspect-Mood (TAM). In English, the verb say in particular has also developed the function of a comment clause:\n (18)a. Say there actually were vultures on his tail\n b. What say he does answer?\n c. Buy a big bottle – say about 250 mils \n d. If we ran out of flour or sugar, say, we would gather up a few eggs and take them to Mr. Nichols's general store\n e.“Say, isn’t that–” Lance started, but Buck answered before the question was even asked\n f.“Say, that’s our City,” bubbles Dolores\n g. Jump, I say, and be done with it\nIn these examples, the verb say fulfils many roles. In the first two examples (a & b), it means ‘suppose', or 'assume.’ In the third and fourth examples (c & d) the meaning of say could be paraphrased as 'for example', or 'approximately.' Example (e) uses say as an imperative introducing a question and connotes 'tell me/us.' Say may also function as an interjection to either focus attention on the speaker or to convey some emotional state such as surprise, regret, disbelief, etc. Finally, example (f) uses say in an emphatic, often imperative way. This function dates from the (early) Middle English period\n\nEmergence of innovative forms: go, be all, be like\nIn addition to basic verba dicendi and manner of speaking verbs, other forms are frequently used in spoken English. What sets these apart is that they are not, semantically speaking, reporting verbs at all. Such forms include be like, be all, and go.\n (19)a. Pat was like “I’ll call you.”\n b. [...]and then my sister’s all “excuse me would you mind if I gave you, if I want your autograph” and she’s like “oh sure, no problem.” \n c. And he goes “yeah” and looks and you can tell maybe he thinks he's got the wrong address[...]\nThese forms, particularly be like, have captured the attention of much linguistic study and documentation. Some research has addressed the syntax of these forms in quotation, which is highly problematic. For example, a verbum dicendi like say may refer to a previously quoted clause with it. However, this is not possible with these innovative forms:\n (20)a. “I don’t know if he heard it, but I know I definitely said it\n b. I’m like it\n c. She was all it\n d. I went it\nNotice that these forms also don’t behave as basic verba dicendi in many other ways. Clefting, for example, produces ungrammatical forms like\n (21)a. That’s nice was gone by me \n b. Um, yah, I know, but there’s going to be wine there was been all by her\nThey also can’t participate in inverted constructions like other manner-of-speaking verbs:\n (22)a. “Go home”, he was like\n b. “I’m leaving”, was all John\nSeveral other issues concerning these forms are the topic of much current study, including their diachrony, or change in use over time. Go, for example, dates as far back as the eighteenth century, in contexts like go bang, go crack, go crash, etc.\nResearch on these forms has also shown that be like in particular is associated with young people. However, this assumption is questioned on the basis of more recent findings which suggest that it is used by older speakers as well. It has also been largely attributed to female speakers, especially white females in California (Valley Girls). However, it is regularly used by speakers of both sexes, and in dialects of English outside of the US, including Canada and the UK. This is a topic of a great deal of research in current syntax and sociolinguistics.\n\nIn Japanese\n\nSyntactic construction \nIn Japanese, verba dicendi (発話行為動詞 hatsuwa kōi dōshi 'speech act verb'), also referred to as verbs of communication or verbs of saying, include 言う iu/yuu 'say', 聞く kiku 'ask', 語る kataru 'relate', 話す hanasu 'talk', and 述べる noberu 'state'.Verba dicendi occur in the following construction: [_] {と -to, って -tte} Verbum dicendi.と -to has been described as a complementizer and a quotative particle. Historically, use of と -to was restricted to reporting a statement by another speaker, but it has a much wider distribution in modern Japanese. In conversational Japanese, って -tte is more frequently used, and it has been described as a quotative particle, a hearsay particle, a quotation marker, and a quotative complementizer. In the above construction, the underlined phrase headed by {と -to, って -tte} can be a word, a clause, a sentence, or an onomatopoetic expression.\n\nLike in English, verba dicendi in Japanese can introduce both direct and indirect speech as their complement. This is contrasted with verbs of thinking, which only introduce indirect speech. An exception to this is a verb of thinking 思う omou 'think', which can introduce a speech that is not uttered but takes place in one's mind as direct speech in the simple past tense; this use of 思う omou 'think' is called a \"quasi-communicative act\".\n\nDirect or indirect speech: ambiguity \nIn Japanese, a complement of a verbum dicendi can be ambiguous between direct and indirect readings, meaning that the distinction can only be inferred from the discourse context. For example, in (1), [boku ga Tookyoo e iku], which is in the complement of the verb 言う iu (past tense: itta), can be interpreted as either direct speech (2)a or indirect speech (2)b.(1) 太郎は僕が東京へ行くと言った。Taroo wa [boku ga Tookyoo e ik-u] to it-taTaro TOP I(MALE) NOM Tokyo to go-PRS QUOT say-PST.(2)a. Taroi said, \"Ii will go to Tokyo.\"(2)b. Taroi said that Ij would go to Tokyo.\n\nOne reason for this direct-indirect ambiguity in Japanese is that Japanese indirect speech does not involve \"backshifting of tense\" observed in other languages including English. In the English translations, the direct speech in (2)a has will in the tense of the embedded clause, but in (2)b, it has been \"backshifted\" to would so that it matches the past tense of the matrix clause. Tense does not serve as a diagnostics of direct-indirect distinctions in Japanese.\n\nAnother reason for the ambiguity is that both direct and indirect quotes are introduced by {と -to, って -tte} in Japanese. Hence, presence of an overt complementizer cannot disambiguate direct and indirect speech either.\n\nDiagnostics of direct speech in Japanese \nDisambiguation of direct and indirect speech in Japanese depends on switches in deictic expressions and expressions of \"speaker-addressee relationship\". One language-specific diagnostics of direct speech is so-called \"addressee-oriented expressions,\" which trigger a presupposition that there is an addressee in the discourse context. Some examples are listed below:sentence final particles: さ -sa 'let me tell you'; ね -ne 'you know'; よ -yo 'I tell you'; わ -wa 'I want you to know'imperative forms: 「走れ！」hashire 'Run!’polite verbs/polite auxiliary verbs: です desu; ございます gozaimasu; ますmasuFor example, in (3), [Ame da yo] in the complement of the verb 言う iu (past tense: itta) is unambiguously interpreted as direct speech because of the sentence final particle よ -yo 'I tell you'.(3) 太郎は花子に「雨だよ」と言った。Taro wa Hanako ni [Ame da yo] to it-taTaro TOP Hanako DAT rain COP yo QUOT say-PST'Taro said to Hanako, \"It is raining, I tell you.\"Similarly, in (4), [Ame desu] in the complement of the verb 言う iu (past tense: itta) is unambiguously interpreted as direct speech because of the polite verb です desu.(4) 太郎は花子に「雨です」と言った。Taro wa Hanako ni [Ame desu] to it-taTaro TOP Hanako DAT rain desu QUOT say-PST'Taro said to Hanako politely, \"It is raining.\"\n\nDiagnostics of indirect speech in Japanese \nOne diagnostics of indirect speech in Japanese is presence of the reflexive pronoun 自分 zibun 'self'. It is a gender-neutral pronoun that uniformly refers to \"the private self,\" or an agent of thinking, as opposed to \"the public self,\" an agent of communicating, expressed by various personal pronouns (e.g. 僕 boku 'I(MALE)'), occupational roles (e.g. 先生 sensei 'teacher'), and kinship terms (e.g. お母さん okaasan 'mother').\n\nFor example, in (5), [zibun ga Tookyoo e iku] in the complement of the verb 言う iu (past tense: itta) is unambiguously interpreted as indirect speech because of the presence of 自分 zibun 'self', which is co-referential with 太郎 Taro.(5) 太郎は自分が東京へ行くと言った。Tarooi wa [zibuni ga Tookyoo e iku] to it-taTaro TOP self NOM Tokyo to go QUOT say-PST.'Taro said that he would go to Tokyo.'Note that (5) only differs from (1) in the subject of the embedded clause; (5) has 自分 zibun 'self' and (1) has 僕 boku 'I(MALE)'.\n\nSimultaneously direct and indirect speech \nIt has been reported that some sentences in Japanese have characteristics of both direct and indirect modes simultaneously. This phenomenon is called \"semi-indirect mode\" or \"quasi-direct mode\". It is also observed in a reported speech, and Kuno (1988) has termed it \"blended discourse\". (6) is an example of blended discourse.(6) 太郎は奴のうちに何時に来いと言ったのか。Taroi wa [yatui-no uti-ni nanzi-ni ko-i] to it-ta no ka?Taro TOP [he-GEN house-DAT what.time-DAT come-IMP] QUOT say-PST Q Q'What time did Taroi say, [come to hisi house __]?'[yatu-no uti-ni nanzi-ni ko-i] in the complement of the verb 言う iu (past tense: itta) appears to be direct speech because it has an imperative verb form 来い ko-i 'Come!'.\n\nOn the other hand, the third person pronoun 奴 yatu 'he' inside the embedded clause is co-referential with the matrix subject 太郎 Taro. This means that this deictic expression inside the embedded clause is interpreted in the context in which the whole sentence (6) is uttered; cross-linguistically, this is considered to be a property of indirect speech.\n\nMoreover, the wh-phrase 何時 nanzi 'what time' inside the embedded clause is taking matrix scope, meaning that it interacts with the matrix clause to influence the meaning of the whole sentence. This sentence means that, for example, 太郎 Taro had said \"Come to my house at ten o'clock!,\" and the utterer of (6), not knowing the content of \"ten o'clock,\" is requesting for this information. Availability of this meaning is an indication of indirect speech because if the embedded clause was direct speech, it would be syntactically opaque.\n\nReferences\n\nSyntax", "In French, elision is the suppression of a final unstressed vowel (usually ) immediately before another word beginning with a vowel. The term also refers to the orthographic convention by which the deletion of a vowel is reflected in writing, and indicated with an apostrophe.\n\nWritten French \n\nIn written French, elision (both phonetic and orthographic) is obligatory for the following words:\nthe definite articles and \n (\"the boy\"), (\"the girl\")\n + → (\"the tree\"), + → (\"the church\")\nthe subject pronouns and (when they occur before the verb)\n. (\"I sleep\") . (\"That would be great.\")\n. (\"I slept.\") . (\"It was great.\")\nbut: ? (\"Did I imagine?\"), ? (\"Is that useful?\") \nthe object pronouns , , , , and (when they occur before the verb)\n. (\"Jean shaves himself, sees her, phones me.\")\n. (\"Jean shaved himself, saw her, phoned me.\")\nbut: . (\"Look at him one more time.\")\nthe object pronouns when they occur after an imperative verb and before the pronoun or :\n . (\"Put it, give me them, scram.\")\n . (\"Put it there, give me some, leave.\")\nthe negative marker \n. (\"She isn't talking anymore.\")\n. (\"She won't stop talking.\")\nthe preposition \n. (\"Jean's father just left.\")\n. (\"Albert's father just arrived.\")\n (which has many different functions)\n. (\"What are you saying? That Jean does nothing but eat.\")\n. (\"What did you say? That we only had one more week left.\")\nThe conjunction plus the pronouns and \n (\"if she likes cats\")\n (\"if he/they like cats\")\n\nElision is indicated in the spelling of some compound words, such as \"peninsula\", \"today\", and \"someone\".\n\nAt the beginnings of words, the aspirated h forbids elision. \nExample: . \nThe mute h, however, requires elision. \nExample: . \nBoth types of \"h\" are silent regardless.\n\nInformal French \nElision of the second-person singular subject pronoun , before the verbs beginning with a vowel or mute h (silent h), and of the particle of negation , is very common in informal speech, but is avoided in careful speech and never used in formal writing:\n . \"You decided to visit them, you went to see the film, you were not there, I don't know.\" (careful speech)\n T'as décidé de lui rendre visite, t'es allé voir le film, t'étais pas là, j'sais pas. (informal speech)\n\nSee also\n Liaison (French)\n Elision — broader discussion of elision in other languages\n\nReferences\n Maurice Grevisse, Le Bon Usage, 14th edition by André Goosse, de Boeck, 2007, \n\nFrench language\nSilent letters\n\nfr:Élision" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska.", "why was it the final appearance?", "Stone was diagnosed as suffering from advanced stomach cancer", "what did she do at the conference?", "Stone presented a speech she had prepared entitled \"The Progress of Fifty Years", "what did she say in the speech?", "said \"I think, with never-ending gratitude, that the young women of today do not and can never know" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	what else did she say?	7	What else did Lucy say, other than talk about young women today?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	their right to free speech and to speak at all in public has been earned."	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "Johnny Frigo's DNA Exposed! is an album by jazz violinist Johnny Frigo that was released by Arbors.\n\nTrack listing \nI Concentrate on You (4:53) \nPoor Butterfly (4:51) \nCheek to Cheek (4:37) \nWhat Is There to Say? (3:33) \nNobody Else But Me (6:01) \nTry a Little Tenderness/Sweet Lovely (5:48) \nHair on the G-String (4:32) \nI Love You (2:52) \nToo Late Now/Street of Dreams (6:22) \nShe Loves Me (2:44) \nCrystal Silence (6:51) \nTanga (4:48) \nWhat'll I Do? (2:28)\n\nPersonnel\n Johnny Frigo – violin\n Bill Charlap – piano\n Bucky Pizzarelli – guitar\n Frank Vignola – guitar\n Nicki Parrott – double bass\n Joe Ascione – drums\n\nReferences\n\n2002 albums\nJohnny Frigo albums\nArbors Records albums\nSwing albums", "\"Eh, Eh (Nothing Else I Can Say)\" is a song by American singer Lady Gaga, from her debut album, The Fame (2008). It was released as the third single from the album in Australia, New Zealand and selected European countries, and the fourth single in France. The song is a calypso-styled, mid-tempo ballad, and is about breaking up with one's old partner and finding someone new. \"Eh, Eh (Nothing Else I Can Say)\" received mixed reviews from US-based critics, who denoted it as \"dry and lifeless\", blaming it for halting the \"bad-girl party atmosphere\" of The Fame.\n\nFailing to match the popularity of her previous singles, the song peaked at number fifteen on the Australian ARIA Charts and at number nine on the RIANZ charts of New Zealand. It proved to be successful in Sweden, where it managed to peak at number two on the Sverigetopplistan chart, as well as in the Czech Republic, France, and Hungary, where it reached the top-ten of their respective charts. \"Eh, Eh (Nothing Else I Can Say)\" received Gold certifications for its sales in Australia, Denmark, New Zealand, and the United States.\n\nThe accompanying Italian-American 1950s-themed music video portrayed Gaga and her friends roaming around the streets of the Little Italy neighborhood of New York City, Gaga riding a Vespa and also singing the song while at home with her boyfriend. The video was noted for its contrasting portrayal of Gaga doing feminine work, as compared to her previous endeavours. She performed \"Eh, Eh (Nothing Else I Can Say)\" on her first headlining concert tour, The Fame Ball Tour, wearing a black-and-white leotard, and during the first legs of The Monster Ball Tour, while standing inside a giant gyroscope.\n\nBackground and composition\n\"Eh, Eh\" was written by Gaga with Martin Kierszenbaum, who also produced the track. It was recorded at Cherrytree Recording Studios in Santa Monica, California. In 2005, Kierszenbaum founded Cherrytree Records along with Jimmy Iovine, then chairman of Interscope Records. After signing a number of artists, he worked with then-unknown Gaga on her debut album, The Fame, producing and writing four songs with her, including the title track. One of these songs was \"Eh, Eh (Nothing Else I Can Say)\". During recording the track, Gaga fashioned a nickname for Kierszenbaum, called \"Cherry Cherry Boom Boom\". They kept the nickname in all the four songs they had worked on. Kierszenbaum later carried on the nickname in all his future projects. Other personnel working on the song included Tony Ugval, who did the audio engineering, Robert Orton for audio mixing and Gene Grimaldi, who mastered the song at Oasis Mastering Studios in Burbank, California.\n\nMusically, \"Eh, Eh (Nothing Else I Can Say)\" is credited as a ballad compared to the rest of the dance-fuelled tracks from The Fame. It is a 1980s-influenced synth-pop and bubblegum pop song, while incorporating the \"Eh, Eh\" hook from Rihanna's single \"Umbrella\", according to Freedom du Lac from The Washington Post. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song is set in the time signature of common time with a moderate tempo of 94 beats per minute. Gaga's vocal range spans from B3 to C5 with the main key in which the song is set being E major. The song follows in the chord progression of E–B–Fm–E–B–Fm. Gaga stated that the lyrics of \"Eh, Eh (Nothing Else I Can Say)\" are about love and she explained that \"'Eh, Eh' is my simple pop song about finding someone new and breaking up with the old boyfriend.\" Writer James E. Perone mentioned in his book The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations that with the lyrics, Gaga maintained a focus on transitory relationships. Although the lyrics explained her former lover that she had found someone new and did not mean to hurt him with the news, the continuous repetition of the phrase \"nothing else I can say\" solidifies the transient nature of the relationship portrayed.\n\nCritical reception\n\nAlexis Petridis from The Guardian noted that \"Eh, Eh\" bears the influence of early 1990s Europop and \"is the first song in a long time that warrants comparison to the œuvre of Ace of Base. Matthew Chisling of AllMusic gave a negative review of the song saying \"The Fame has 'ballad,' however the breezy 'Eh, Eh' doesn't hold water on this album; rather, it feels dry and lifeless, something which holds this album back\". Sal Cinquemani of Slant Magazine said that \"the breezy island vibe and soft demeanor of 'Eh, Eh (Nothing Else I Can Say)' is hard to buy when sandwiched between songs like 'Poker Face' and 'Beautiful, Dirty, Rich.'\" In another article analyzing about the music videos released by Gaga, Oscar Moralde from Slant Magazine noted that \"Eh, Eh\" as a track \"is an intriguing case: rather than the tech-assisted sexy-androgynous dance pop that dominates a good chunk of The Fame, it and its sister tracks 'Brown Eyes' and 'Again Again' are evidence of a stripped-down, simpler, sincere Gaga.\n\nEvan Sawdey of PopMatters said that the song is the most embarrassing moment of the album and as a result makes the album come to an intermediate halt thus ruining the \"bad-girl party atmosphere\". Joey Guerra of the Houston Chronicle said that \"Eh, Eh\" is a bouncy standout with some vocal personality. He also added that \"[It] would have made a killer Spice Girls single.\" Genevieve Koski of The A.V. Club called the track scaled-back and criticized Gaga's vocal abilities in the song. Jon Caramanica of The New York Times called the song listless. Catherine P. Lewis from The Washington Post called the song a chirpy ballad. Christina Martin from The Meridian Star felt that the song, along with \"Summerboy\" from The Fame, is breezy and upbeat in nature. Matt Busekroos from Quinnipiac Chronicle said that the song seemed like filler.\n\nRelease and chart performance\n\"Eh, Eh (Nothing Else I Can Say)\" was first released in New Zealand on January 10, 2009, and later in Australia on January 30, 2009. \"Eh, Eh\" was the second most added song on Australian radio on the week beginning December 15, 2008. It first began to receive airplay on all Today Network stations. The song was confirmed as an Australian single on Lady Gaga's official website on January 15, 2009. An official remix was also posted on her website that day followed by another one featuring the official cover art. On March 5, 2009, a Pet Shop Boys remix—named as \"Random Soul Synthetic Mix\"—became available for free download on Gaga's Australian website. Synth-pop musician Frankmusik remixed the track for Gaga's 2010 album, The Remix, where he manipulated Gaga's vocals and created a dreamy quality with them, as noted by Nicki Escuedo from Phoenix New Times.\n\n\"Eh, Eh (Nothing Else I Can Say)\" debuted on the ARIA Singles Chart at number 38 on the issue of January 18, 2009. The following week it climbed to number 32 and ultimately peaked at number 15, on the issue of March 1, 2009, making it Gaga's third single to hit the top twenty there. After thirteen weeks on the chart, \"Eh, Eh\" was certified gold for shipment of 35,000 copies by the Australian Recording Industry Association (ARIA). In New Zealand, \"Eh, Eh\" debuted at number 40 on the issue dated January 19, 2009. The following weeks it continued its rise on the chart and ultimately peaked at number nine, spending three weeks there, and becoming her third consecutive top ten hit in New Zealand. The song was certified gold on May 24, 2009, by the Recording Industry Association of New Zealand (RIANZ), for shipment of 7,500 copies. The single reached a peak of number seven in France, and sold a total of 52,000 copies according to the SNEP.\n\nOn the Billboard issue dated February 21, 2009, \"Eh, Eh (Nothing Else I Can Say)\" debuted on the Canadian Hot 100 chart at number 68, despite not being released as a single, but dropped off the chart the following week. It entered the chart again for two weeks in August 2010. Although \"Eh, Eh (Nothing Else I Can Say)\" was not released in the United States, it received a gold certification from the Recording Industry Association of America (RIAA) for selling over 500,000 equivalent units. The song also debuted at number 20 on the Swedish Singles Chart for the issue dated April 2, 2009, and peaked at number two. On the Digital Songs chart of Sweden, it peaked at the top in its fourth week. The song debuted on the Danish Singles Chart at number 28 on May 15, 2009, and peaked at number 14. Due to the moderate chart performance in the European markets, \"Eh, Eh\" only reached a peak of number 40 on Billboards European Hot 100 Singles chart.\n\nMusic video\n\nBackground and synopsis\nThe Italian-American 1950s-inspired music video, directed by Joseph Kahn, was shot back to back with the video for the song \"LoveGame\" on the weekend of January 9–10, 2009 in Los Angeles. About the video, Gaga explained: \"I wanted to show a different side of myself — perhaps a more domestic girly side. And I wanted to create beautiful, stunning '50s futuristic fashion imagery that would burn holes in everyone's brains.\" She further clarified that for the fashion aspects in the video she wanted to go in an opposite direction to her usual image. She wanted a yellow based wardrobe believing the color to become a big hit in the fashion world in 2009.\n\nThe video starts out showing Little Italy, an icon of the Madonna and Child, and then Gaga riding a Vespa. The first twenty seconds are mainly full of camera shots of different men, Gaga, and the city. The singer roams around with some friends, laughing and joking in a restaurant, while she stands on the seat. Gaga then comes from around the block walking with her friends in pace and singing in the camera. Next, she is shown sleeping in a bed, and waking up to reveal pink high-heeled shoes. She sings and cooks for a man in a house while dancing. She irons clothes while the man is on the phone screaming at someone. The two harlequin Great Danes who appear at the start of her \"Poker Face\" music video, also appear in this one. Finally she lies on a sofa with her legs up on the man. One of the last scenes shows her in a yellow dress made of flowers and wearing a yellow watch while singing to the song with a unique hairstyle which shows her hair pulled up and folded over. Then the camera quickly goes back to her in bed.\n\nReception\nDavid Balls from Digital Spy noted Gaga's homage to her Italian-American roots in the video, but wondered if Gaga would \"overexpose herself\" with the video. Like his review of the single, Moralde found the video to be complementing the simplistic composition of the song. He believed that with the videos for previous singles, \"Just Dance\" and \"Poker Face\", Gaga's persona was established, but with the video for \"Eh, Eh\" she traversed her persona from the original Stefani Germanotta that she was born, to the character Lady Gaga. He explained: \"What's striking about it is how much it feels like Lady Gaga is playacting: the video has a nostalgic, dreamlike tone. Set in a stylized pastel 1950s Little Italy, the video plays heavily with stereotypical and historical shorthand as it displays moustached chefs, macho men in wife beaters, cute Vespas, and spaghetti and meatballs.\" He noted that with all of these activities, Gaga created an essential fashion dollhouse, by playing feminine characters.\n\nBut Gaga addressed the viewer directly in the video while singing the song, which led Moralde to deduce that \"She's not in the moment, but is instead playing a feminized role in a dreamlike space; this quality is accentuated by the bright and blown-out color palette, and the numerous shots of Gaga in bed or sleeping. The cumulative effect is that it asserts the Lady Gaga of the previous videos to be the real one, and the Gaga in 'Eh, Eh' is a character that she is playing.\" His view was shared by Chris Kingston from The Harvard Crimson who noted during the release of the music video for Gaga's 2010 single \"Telephone\", that the video shows \"the crazy party girl we know [...] actually has a weirdly girlish, domestic side.\" In The Oxford Handbook of Sound and Image in Digital Media, author Carol Vernallis divided Gaga's persona into three categories. The personality portrayed in the \"Eh, Eh\" video was named as \"Friendly Peer\" archetype; someone with a girl-next-door image and approachable behavior.\n\nLive performances\n\n\"Eh, Eh\" was first performed in a beatbox version at the Cherrytree Studios and was released on Gaga's first EP, The Cherrytree Sessions. \"Eh, Eh\" was majorly performed at Gaga's The Fame Ball Tour in the second segment. Gaga was dressed in a white body plate leotard with black lightning shaped stripes and wore a hat made of toppled dominoes. As the performance of previous song \"Money Honey\" ended Gaga appeared on the stage beside Space Cowboy on a Vespa whence the music for \"Eh, Eh\" starts. The backdrops change to reveal lightning shapes in contrast to the sunny nature of the song. Gaga sang the song in its actual form backed by vocals from DJ Space Cowboy who spun the music from a corner of the stage. As the song reached the chorus Gaga asked the crowd to join her while singing and wave their arms. The New York Times called the live performance listless. However, The Hollywood Reporter said of the performance that, \"In an age of too much information, one of the most refreshing things about Gaga is her mystery. She often hid behind shades, and her mostly incomprehensible, coy and semi-robotic stage patter did little to tell us who's that Lady.\"\n\nGaga also performed the song at the 2009 Glastonbury Festival. Although the show was part of The Fame Ball Tour, many elements were different from on usual tour dates. For \"Eh Eh\", Gaga wore a pyrotechnic bra that fired sparkle-flames from her breast area while singing the chorus. In September 2009, Gaga appeared in French television show Taratata, where she performed \"Eh, Eh\" on the piano, while wearing a red mask. \"Eh, Eh\" was also performed during the original version of The Monster Ball Tour, where the song signified the singer's rebirth as she descended from the top amidst white lights and mechanical fog. She wore a giant human sized gyroscope around her, which was developed by the Haus of Gaga and was named \"The Orbit\". The song was removed from the setlist in early 2010.\n\nTrack listing and formats\n\nAustralian CD Single (Extra Limited Edition)\n \"Eh, Eh (Nothing Else I Can Say)\" – 2:57\n \"Poker Face\" (Space Cowboy Remix) – 4:56\n\nFrench CD Single (Limited Edition)\n \"Eh, Eh (Nothing Else I Can Say)\" – 2:56\n \"Eh, Eh (Nothing Else I Can Say)\" [Pet Shop Boys Radio Mix] – 2:49\n \"Eh, Eh (Nothing Else I Can Say)\" [Random Soul Synthetic Club Remix] – 5:27\n\niTunes Remix Single\n \"Eh, Eh (Nothing Else I Can Say)\" [Random Soul Synthetic Club Remix] – 5:29\n \"Eh, Eh (Nothing Else I Can Say)\" [Pet Shop Boys Radio Mix] – 2:53\n\nItalian iTunes download\n \"Eh, Eh (Nothing Else I Can Say)\" [Electric Piano & Human Beatbox Version] – 3:03\n\niTunes Remix EP\n \"Eh, Eh (Nothing Else I Can Say)\" – 2:57\n \"Eh, Eh (Nothing Else I Can Say)\" [Pet Shop Boys Radio Mix] – 2:53\n \"Eh, Eh (Nothing Else I Can Say)\" [Bollywood Remix] – 3:29\n \"Eh, Eh (Nothing Else I Can Say)\" [FrankMusik 'Cut Snare Edit' Remix] – 3:50\n \"Eh, Eh (Nothing Else I Can Say)\" [Electric Piano & Human Beat Box Version] – 3:03\n \"Eh, Eh (Nothing Else I Can Say)\" [Mattafix Remix] – 3:21\n \"Eh, Eh (Nothing Else I Can Say)\" [Random Soul Synthetic Club Remix] – 5:29\n \"Eh, Eh (Nothing Else I Can Say)\" [Pet Shop Boys Club Remix] – 6:31\n\nCredits and personnel\nCredits adapted from the liner notes of The Fame.\n\nLady Gaga – vocals, songwriting\nMartin Kierszenbaum – songwriting, production\nTony Ugval – audio engineering\nRobert Orton – audio mixing\nGene Grimaldi – audio mastering at Oasis Mastering, Burbank, California\nRecorded at Cherrytree Recording Studios, Santa Monica, California\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nReferences\n\n2000s ballads\n2008 songs\n2009 singles\nBubblegum pop songs\nInterscope Records singles\nLady Gaga songs\nMusic videos directed by Joseph Kahn\nSongs written by Lady Gaga\nSongs written by Martin Kierszenbaum\nSynth-pop ballads\nbubblegum pop songs" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska.", "why was it the final appearance?", "Stone was diagnosed as suffering from advanced stomach cancer", "what did she do at the conference?", "Stone presented a speech she had prepared entitled \"The Progress of Fifty Years", "what did she say in the speech?", "said \"I think, with never-ending gratitude, that the young women of today do not and can never know", "what else did she say?", "their right to free speech and to speak at all in public has been earned.\"" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	was her speech effective enough to bring change?	8	Was Lucy's speech effective enough to bring change?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas.	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "Alicia Cawiya is the Vice-President of the Huaorani Nation of Ecuador and one of the leaders of the movement against oil exploitation in her region. In 2013, she made a speech in Ecuador's parliament to protect the Amazon basin from oil companies.\n\nLife\n\nChildhood \nCawiya was born in the Ñoneno community, in the Yasuní reservation in Ecuador. Her grandmother, Iteca, was known to be a feared Huaorani warrior.\n\nWhen Cawiya was a child, she was sent to be raised by missionaries, who had the task of \"civilising the barbarians\" so the oil companies could move in to indigenous territory without resistance, although Iteca brought her back to the forest.\n\nPolitical life \nIn an interview with New Internationalist, Cawiya said that she became politically active at the age of 13. At 18 she was a leader, following the footsteps of her grandmother in a traditionally male-dominated community. \n\nShe became Vice-President of the National Waorani Federation (NAWE) and in 2005 she and other communities leaders founded the Asociación de Mujeres Waorani del Ecuador (Ecuador Waorani Women Association), which now comprises around 300 women. The aim of the association is to protect the organic lifestyle of their people and to fight against oil companies.\n\nIn 2013, she made headlines when she defended her people and made a speech in Ecuador's parliament asking to stop the Yasuní-ITT plan and the incursion of oil companies in the Amazon.\n\nOil companies conflict in Ecuador \nSince 1972, Ecuador has been an important oil exporter in South America - the third after Venezuela and Mexico. The infrastructure put in place to extract the oil affected the Ecuadorian Amazon region both socially and ecologically.\n\nOne of the most known examples is the Texaco-Chevron case. This American oil company operated in the Ecuadorian Amazon region between 1964 and 1992. During this period, Texaco drilled 339 wells in 15 petroleum fields and abandoned 627 toxic wastewater pits, as well as other elements of the oil infrastructure. It is now known that these highly polluting and now obsolete technologies were used as a way to reduce expenses.\n\nAfter the company left the country, the government initiated legal actions to obtain compensation, as the company had tried to avoid paying a fee of 19 million dollars. This conflict lasted for more than twenty years until in June 2017, the United States Supreme Court ruled in favor of the Texaco-Chevron. Ecuadorian activists have said that they will continue to try to bring these companies to justice.\n\nIn September 2013, the Ecuadorian government announced the exploitation of the Yasuní area and the 43 block, better known as ITT (Ishpingo, Tiputini and Tambococha), which was supposed to have a big economical impact.\n\nCawiya's speech \nOn 3 October 2013, the Constituent Assembly in Quito gathered to discuss the Yasuní-ITT plan. Cawiya was invited to participate as Vice-President of the Huaorani Nation of Ecuador, and she was expected to read the script given to her by her President, Chief Moi Enomenga. The speech acceded to oil drilling in her homeland in the headwaters of the Amazon River.\n\nWhen Cawiya stood up to talk, she defied her President and the government and made her own speech, first in her native Huaorani language, then in Spanish, denouncing the oil companies and speaking up in defence of her people.\nShe talked about the negative impact of oil drilling in the Amazon and accused many of being complicit in deforestation and the subsequent death of some indigenous people.\n\nCawiya's speech wasn't enough to change the decision of the Constituent Assembly however, and the Yasuní-TT exploitation was accepted by 108 to 133 votes. The construction of the infrastructures started in 2016.\n\nConsequences \nAfter her speech, Cawiya received death threats., although this did not impede her activism. She continues to advocate for her community as leader of the AMWAE.\n\nReferences \n\nEcuadorian activists\nEcuadorian women activists\nEcuadorian women in politics\nLiving people\nYear of birth missing (living people)\n21st-century Ecuadorian women", "Hall v Woolston Hall Leisure Ltd [2000] EWCA Civ 170 is a UK labour law case, concerning the illegality in the contract of employment.\n\nFacts\nMrs Hall was dismissed from being head chef at the Epping Forest Golf Club because she became pregnant. She claimed unfair dismissal based on the Equal Treatment Directive 76/207/EC and the Sex Discrimination Act 1975 (now the Equality Act 2010). However, in September 1994, she had received a raise to £250 and her payslip still showed £250 gross and £186.65 net, which apparently demonstrated tax avoidance. She asked and was told “It’s the way we do business.” For five months she continued to work. The employer argued that because Mrs Hall was party to an illegal contract, she was not entitled to bring a claim for unfair dismissal.\n\nThe Tribunal held that Mrs Hall could not bring a discrimination claim, because she turned a blind eye to the Inland Revenue being defrauded. It held it could make a limited award of compensation, but not for financial loss.\n\nJudgment\nThe Court of Appeal held that Mrs Hall could bring her claim. Peter Gibson LJ held that her contract was initially lawful and she did not actively participate in the illegality. Her acquiescence was not causally linked to her sex discrimination. Public policy did not preclude her entitlement to a statutory claim under SDA 1975 ss 65 and 66. Moreover, the Equal Treatment Directive 76/207/EC was clearly contravened, and a remedy must be effective to fulfill the purpose embodied in the Directive.\n\nMance LJ held that mere knowledge by the employee of the illegality is not enough. The employee must have actively participated in the illegality rather than have merely acquiesced in an employer's unlawful conduct.\n\nMoore-Bick J, concurred.\n\nSee also\n\nUK labour law\nHounga v Allen And Another [2014] UKSC 47\n\nNotes\n\nReferences\n\nUnited Kingdom labour case law" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska.", "why was it the final appearance?", "Stone was diagnosed as suffering from advanced stomach cancer", "what did she do at the conference?", "Stone presented a speech she had prepared entitled \"The Progress of Fifty Years", "what did she say in the speech?", "said \"I think, with never-ending gratitude, that the young women of today do not and can never know", "what else did she say?", "their right to free speech and to speak at all in public has been earned.\"", "was her speech effective enough to bring change?", "Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas." ]	C_21eee70d059d4a70a17834a13b9ddc57_0	who was Colorado?	9	What was Colorado?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	form a plan for organizing in Colorado,	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "William Herbert Adams (February 15, 1861 – February 4, 1954), better known as Billy Adams, was an American political figure who served as the 25th governor of the state of Colorado, from 1927 until 1933.\n\nBiography \nAdams was born in Blue Mounds, Wisconsin. In 1878, when he was 17, Adams moved to Alamosa, Colorado. He was later elected to City Treasurer, then Mayor of Alamosa, and later as Conejos County commissioner. In 1886, he was elected to the Colorado General Assembly as a member of the Colorado House of Representatives. In 1888, he was elected to the Colorado Senate where he served until 1926, when he was elected as Governor of Colorado.\n\nIn 1921, during his term as Colorado Senate Senator, Adams received approval on a bill that formed Alamosa State Normal School in Alamosa, Colorado. The college’s name was later changed to Adams State Teachers College in honor of its founder and finally to its present name Adams State University. Adams died on February 4, 1954, in Alamosa, Colorado, at the age of ninety-two, where he is buried.\n\nPersonal life \nJohn Adams, Billy's father, was a member of the Wisconsin State Assembly and the Wisconsin State Senate. Billy’s older brother, Alva Adams, was also governor of Colorado from 1887 to 1889, from 1897 to 1899, and 1905. Billy's nephew, Alva Blanchard Adams, was a United States Senator from Colorado from 1923 until 1925 and from 1933 to 1941.\n\nSee also\nGovernor of Colorado\nList of governors of Colorado\n\nReferences\n\nExternal links\nThe Governor William H. Adams Collection at the Colorado State Archives\n\nMembers of the Colorado House of Representatives\nCounty commissioners in Colorado\nColorado state senators\nGovernors of Colorado\n1861 births\n1954 deaths\nPeople from Blue Mounds, Wisconsin\nPeople from Alamosa, Colorado\nDemocratic Party state governors of the United States\nColorado Democrats", "Teller Ammons (December 3, 1895 – January 16, 1972) was an American attorney and politician who served as the 28th Governor of Colorado from 1937 to 1939. He was the first Colorado governor to be born in the state.\n\nEarly life \nOn December 3, 1895, Ammons was born in Colorado. Ammons' father was Elias M. Ammons, a former Governor of Colorado. Ammons' mother was Elizabeth (nee Fleming) Ammons. Ammons was named for his father's friend, U.S. Senator Henry Moore Teller.\n\nCareer \nHe served with the 154th Infantry Regiment in the United States Army in France during World War I.\n\nAfter the war, he returned to Colorado to work on a ranch and in a newspaper office. He earned a law degree from the University of Denver's Westminster Law School in 1929.\n\nAmmons was elected to the Colorado Senate in 1930 and served until 1935, when Denver Mayor Benjamin F. Stapleton appointed him as Denver city attorney.\n\nIn 1936, Ammons was elected Governor of Colorado. On January 12, 1937, Ammons began his term as the Governor of Colorado, until January 10, 1939. As Governor, he was responsible for the execution of Joe Arridy, who was innocent of the crime he was accused of. After one two-year term, he was defeated for reelection in 1938 by Ralph L. Carr.\n\nDuring World War II, he served as a lieutenant colonel on the selection and assignment board for military officers until 1944. In 1944, he was part of the military government of Guam. He separated from the service in 1945.\n\nAfterward, he practiced law in Denver until his retirement.\n\nPersonal life \nAmmons' wife was Esther Daves Ammons. They had one child, whose name is Davis Ammons.\n\nAmmons died on January 16, 1972, and was buried in Fairmount Cemetery in Denver, Colorado.\n\nReferences\n\nExternal links\nState of Colorado biography\nNational Governors Association biography\n\n1895 births\n1972 deaths\nColorado state senators\nGovernors of Colorado\nUnited States Army personnel of World War I\nDemocratic Party state governors of the United States\nColorado Democrats\nPoliticians from Denver\n20th-century American politicians\nUnited States Army officers\nMilitary personnel from Colorado\nBurials at Fairmount Cemetery (Denver, Colorado)" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska.", "why was it the final appearance?", "Stone was diagnosed as suffering from advanced stomach cancer", "what did she do at the conference?", "Stone presented a speech she had prepared entitled \"The Progress of Fifty Years", "what did she say in the speech?", "said \"I think, with never-ending gratitude, that the young women of today do not and can never know", "what else did she say?", "their right to free speech and to speak at all in public has been earned.\"", "was her speech effective enough to bring change?", "Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas.", "who was Colorado?", "form a plan for organizing in Colorado," ]	C_21eee70d059d4a70a17834a13b9ddc57_0	what happened after the final appearance?	10	What happened after the final appearance of Lucy?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause,"	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	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", "The 2002 Copa Bolivia was the last Copa Bolivia. Only teams from 2nd division played in the qualifying round. The tournament was replaced in the following year with the Copa Aerosur.\n\nQualifying round\n\nPlay-off Round\n Oruro Royal Withdrawn from the tournament because they were going to celebrate what happened the last year after the plane crashed.\n\n{{TwoLegResult\|Oriente Petrolero\|\|7–3\|Unión Central \|\|3–0\|4–3}}\n\nGroup stageGroup AStandingsResultsGroup BStandingsResults'''\n\nSemi-Final\n\nFinal\n\nReferences \n\nBol\nBol" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska.", "why was it the final appearance?", "Stone was diagnosed as suffering from advanced stomach cancer", "what did she do at the conference?", "Stone presented a speech she had prepared entitled \"The Progress of Fifty Years", "what did she say in the speech?", "said \"I think, with never-ending gratitude, that the young women of today do not and can never know", "what else did she say?", "their right to free speech and to speak at all in public has been earned.\"", "was her speech effective enough to bring change?", "Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas.", "who was Colorado?", "form a plan for organizing in Colorado,", "what happened after the final appearance?", "She wrote final letters to friends and relatives. Having \"prepared for death with serenity and an unwavering concern for the women's cause,\"" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	did she die?	11	Did Lucy die?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	" Lucy Stone died	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	false	[ "Sonja Herholdt (born 1 December 1952) is a South African singer-songwriter and Afrikaner actress.\n\nPersonal life\nHerholdt was born in the small Gauteng mining village of Nigel and at the age of three made her first singing performance at the local community recreation hall, singing the Afrikaans lullaby Slaap, my Kindjie.\n\nShe attended the Afrikaans-medium Tini Vorster Primary and Hoërskool John Vorster where she became Head Girl in both and followed her theatrical pursuits.\n\nShe later obtained a diploma cum laude in Teaching after three years at the Johannesburg (Goudstad) College of Education. She gave up teaching to pursue music after meeting her future husband, FC Hamman. The couple married in 1976 and started a family, their youngest son later developed an extreme hearing impairment in 1993. Herholdt subsequently decided to start a school for hearing and linguistically impaired Afrikaans children, this was housed in the pre-primary section of Bryanston Primary School. This resulted in Herholdt returning to teach for a period of time.\n\nIn 1996, Herholdt was involved in a serious car accident. She and her husband subsequently divorced after 21 years of marriage.\n\nIn collaboration with Carel Cronjé, she released her autobiography in 2007 Sonja: Meisie van Nigel. Later that year she was injured in a robbery on the way home from Cronjé's Johannesburg home.\n\nCareer\nHer breakthrough came when she did a spot on Gwynneth Ashley Robin's show and was soon asked to record Ek Verlang Na Jou. The single went gold in South Africa, selling over 25 000 copies.\n\nHer subsequent albums and singles earned her similar critical and commercial success. She went on to win a total of eight Sarie awards. In the 1970s and 1980s, she was frequently the best-selling female artist in South Africa.\n\nIn 1979, she finally fulfilled her ambition to act by starring in Sing vir die Harlekyn, and winning a Rapport Oscar-Award as Best Female Newcomer.\n\nShe later enjoyed music success in Europe, she holds the distinction of being the first ever South African singer to be invited to perform in the Netherlands on their local Television. She recorded her song Oberammergau in Dutch. She also performed in Belgium, pushing Oberammergau into fifth place in the Belgian charts.\n\nIn 1989, she performed at the Religious Broadcasting Corporation in Washington, coinciding with the release of her gospel album, The Warrior is a Child.\n\nIn 1991, she received an award from the Afrikaans Chamber of Commerce for her services to Afrikaans music.\n\nIn 1995, she signed an album contract with BMG Records, enjoying success with the title track of her new BMG compilation, Skipskop. Her 1998 album Ritsel in die Rietbos did not meet critical and commercial expectations. But she rebounded with the critically acclaimed 2000 album, Reconstructing Alice.\n\nIn 2002 she developed her own record company, Son Music and released Sonjare, a nostalgic retrospective of her original hits.\n\nDiscography\nHerholdt has recorded several albums and singles since the 1970s;\n\nAlbums\nSonja (1976)\nSonja Herholdt (1977)\nOn stage/In die kalklig (1978)\nWaterblommetjies (1978)\n'n Lied vir Kersfees (1979)\nHarlekyn (Gold) (1979)\nGrootste Treffers (1980)\nWaarom Daarom (1981)\nReflections (1982)\nLiefdeslig (1984)\nLofsang – Sonja Herholdt en Jan de Wet (1985)\nDis net vir jou (1987)\nSonja Herholdt sing die Jeugsangbundel (1987)\nSonja Herholdt sing die Jeugsangbundel 2 (1988)\nTuiskoms (1988)\nDie Klokkespel 'Vrede (1989)\nThe Warrior is a Child (1989)\n'n Ster Vanaand (1994)\nTuiskoms (1995)\nMore sal die son weer skyn (1996)\nRitsel in die Rietbos (1998)\nReconstructing Alice (2000)\nSonjare\n20 Gunsteling treffers\nDis Kersfees\nSonja Herholdt Skipskop\nDie mense wat ek liefhet*Gunsteling treffers (1992)\nSê die engele moet kyk na my (1994)\nDie verhale van vrouwees\nShe\nShe The Princess\nLiefling die movie\nPêrels\n\nAwards\n\nReferences\n\nExternal links\n Official website\nSonja Herholdt at Who's Who Southern Africa\n\n1952 births\nLiving people\nPeople from Nigel, Gauteng\nAfrikaner people\nAfrikaans-language singers\n20th-century South African women singers\nSouth African actresses\nSouth African people of German descent", "Ida Boy-Ed (17 April 1852 – 13 May 1928) was a German writer. A supporter of women's issues, she wrote widely-read books and newspaper articles.\n\nEarly years\nIda Cornelia Ernestina Ed was born in Bergedorf in 1852 to a supportive family who encouraged her to write. Her father had started his own newspaper business. Her creation of short novels and other literary works was deterred when she married Carl Johann Boy at the age of seventeen.\n\nCareer\n\nOver her husband's objections in 1878, she moved out of the house she shared with his family. She took her eldest son, Karl, with her to Berlin where she intended to make her living by writing. Despite already being a published author of serialised novels and having experience in newspaper writing, she did not find success with the pieces she wrote at this time. She did, however, use her money to assist other artists. In 1880, she was obliged to move back to Lübeck at her husband's insistence as their divorce was not finalized.\n\nBoy-Ed spent much of her spare time writing while raising her children, but did not become successful until the age of 30. A book of her novellas about the Hanseatic middle classes was the first of about 70 that she published. Boy-Ed studied and wrote about leading German women like Charlotte von Stein, Charlotte von Kalb and the French writer Germaine de Staël. Like them, she tried to support women's issues in her writings although her principal reason for writing was to make money. She achieved a wide readership for her books, as well as the hundreds of newspaper articles that she wrote. Boy-Ed invested in an impressive apartment and was a patron of the arts.\n\nIn September 1914, at the outset of the First World War, Boy-Ed's son Walther was killed in France. Undeterred, Boy-Ed wrote of the need for a mother's sacrifice. She published her ideas in 1915 under the title Soldiers' Mothers in which she makes it clear, \"A mother is only dust on the road to victory\". Boy-Ed's son, Karl, was the naval attaché of the German Embassy at Washington. His younger brother Emil was also a naval officer. Karl recalled that Thomas Mann was amongst the many literary and musical people who visited his mother's home. Boy-Ed died in 1928 in Travemünde and was buried in Lübeck.\n\nSelected works\n\n Ein Tropfen, 1882\n Die Unversuchten, 1886\n Dornenkronen, 1886\n Ich, 1888\n Fanny Förster, 1889\n Nicht im Geleise, 1890\n Ein Kind', 1892\n Empor!, 1892\n Werde zum Weib, 1894\n Sturm, 1894\n Die säende Hand, 1902\n Das ABC des Lebens, 1903\n Heimkehrfieber. Roman aus dem Marineoffiziersleben, 1904\n Die Ketten, 1904\n Der Festungsgarten, 1905\n Ein Echo, 1908\n Nichts über mich!, 1910\n Ein königlicher Kaufmann, Hanseatischer Roman, 1910\n Hardy von Arnbergs Leidensgang, 1911.\n Ein Augenblick im Paradies, 1912\n Charlotte von Kalb. Eine psychologische Studie, 1912\n Eine Frau wie Du! 1913\n Stille Helden, 1914\n Vor der Ehe, 1915\n Die Glücklichen 1916 (?)\n Das Martyrium der Charlotte von Stein. Versuch ihrer Rechtfertigung, 1916\n Die Opferschale, 1916\n Nur wer die Sehnsucht kennt..., 1916\n Erschlossene Pforten, 1917\n Um ein Weib, 1920\n Aus Tantalus Geschlecht, 1920\n Glanz, 1920\n Germaine von Stael. Ein Buch anläßlich ihrer..., 1921\n Brosamen, 1922\n Fast ein Adler, 1922\n Annas Ehe, 1923\n Das Eine, 1924\n Die Flucht, ca. 1925\n Gestern und morgen, 1926\n Aus alten und neuen Tagen, 1926\n\n References \n\nBibliography\n \n Dreyer, Elsa: Unvergessene Frauen (…) Ida Boy-Ed in Lichtwark Nr. 9, August 1949, Hrsg.: Lichtwark-Ausschuß, Bergedorf. Siehe jetzt: Verlag HB-Werbung, Hamburg-Bergedorf. \n Mann, Thomas: Briefe an Otto Grautoff (1894–1901) und Ida Boy-Ed (1903–1928), Hrsg.: Peter de Mendelssohn, Fischer, Frankfurt am Main 1975\n Saxe, Cornelia: Ida Boy-Ed. In: Britta Jürgs (Hg.): Denn da ist nichts mehr, wie es die Natur gewollt. Portraits von Künstlerinnen und Schriftstellerinnen um 1900. AvivA Verlag, Berlin, 2001, ; S.193-215\n Wagner-Zereini, Gabriele: Die Frau am Fenster. Zur Entwicklung einer weiblichen Schreibweise am Beispiel der Lübecker Schriftstellerin Ida Boy-Ed (1852–1928)''. Dissertation Univ. Frankfurt/M. 1999\n\nExternal links\n \n \n \n\n1852 births\n1928 deaths\n19th-century German women writers\nPeople from Bergedorf\nGerman patrons of the arts\n19th-century German writers\n20th-century German writers\n20th-century German women writers" ]
[ "Lucy Stone", "Final appearance", "when was the final appearance?", "in May, 1893", "where was the final appearance?", "at the World's Congress of Representative Women", "what was the reason for the congress?", "focus was on state referenda under consideration in New York and Nebraska.", "why was it the final appearance?", "Stone was diagnosed as suffering from advanced stomach cancer", "what did she do at the conference?", "Stone presented a speech she had prepared entitled \"The Progress of Fifty Years", "what did she say in the speech?", "said \"I think, with never-ending gratitude, that the young women of today do not and can never know", "what else did she say?", "their right to free speech and to speak at all in public has been earned.\"", "was her speech effective enough to bring change?", "Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas.", "who was Colorado?", "form a plan for organizing in Colorado,", "what happened after the final appearance?", "She wrote final letters to friends and relatives. Having \"prepared for death with serenity and an unwavering concern for the women's cause,\"", "did she die?", "\" Lucy Stone died" ]	C_21eee70d059d4a70a17834a13b9ddc57_0	when did she die?	12	When did Lucy die?	Lucy Stone	In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May, 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause," Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are inurned at Forest Hills; a chapel there is named after her. CANNOTANSWER	October 18, 1893, at the age of 75.	Lucy Stone (August 13, 1818 – October 18, 1893) was a prominent U.S. orator, abolitionist, and suffragist, and a vocal advocate and organizer promoting rights for women. In 1847, Stone became the first woman from Massachusetts to earn a college degree. She spoke out for women's rights and against slavery. Stone was known for using her birth name after marriage, contrary to the custom of women taking their husband's surname. Stone's organizational activities for the cause of women's rights yielded tangible gains in the difficult political environment of the 19th century. Stone helped initiate the first National Women's Rights Convention in Worcester, Massachusetts and she supported and sustained it annually, along with a number of other local, state and regional activist conventions. Stone spoke in front of a number of legislative bodies to promote laws giving more rights to women. She assisted in establishing the Woman's National Loyal League to help pass the Thirteenth Amendment and thereby abolish slavery, after which she helped form the American Woman Suffrage Association (AWSA), which built support for a woman suffrage Constitutional amendment by winning woman suffrage at the state and local levels. Stone wrote extensively about a wide range of women's rights, publishing and distributing speeches by herself and others, and convention proceedings. In the long-running and influential Woman's Journal, a weekly periodical that she founded and promoted, Stone aired both her own and differing views about women's rights. Called "the orator", the "morning star" and the "heart and soul" of the women's rights movement, Stone influenced Susan B. Anthony to take up the cause of women's suffrage. Elizabeth Cady Stanton wrote that "Lucy Stone was the first person by whom the heart of the American public was deeply stirred on the woman question." Together, Anthony, Stanton, and Stone have been called the 19th-century "triumvirate" of women's suffrage and feminism. Early life and influences Lucy Stone was born on August 13, 1818, on her family's farm at Coy's Hill in West Brookfield, Massachusetts. She was the eighth of nine children born to Hannah Matthews and Francis Stone; she grew up with three brothers and three sisters, two siblings having died before her own birth. Another member of the Stone household was Sarah Barr, "Aunt Sally" to the children – a sister of Francis Stone who had been abandoned by her husband and left dependent upon her brother. Although farm life was hard work for all and Francis Stone tightly managed the family resources, Lucy remembered her childhood as one of "opulence", the farm producing all the food the family wanted and enough extra to trade for the few store-bought goods they needed. When Stone recalled that "There was only one will in our family, and that was my father's", she described the family government characteristic of her day. Hannah Stone earned a modest income through selling eggs and cheese but was denied any control over that money, sometimes denied money to purchase things Francis considered trivial. Believing she had a right to her own earnings, Hannah sometimes stole coins from his purse or secretly sold a cheese. As a child, Lucy resented instances of what she saw as her father's unfair management of the family's money. But she later came to realize that custom was to blame, and the injustice only demonstrated "the necessity of making custom right, if it must rule." From the examples of her mother, Aunt Sally, and a neighbor neglected by her husband and left destitute, Stone early learned that women were at the mercy of their husbands' good will. When she came across the biblical passage, "and thy desire shall be to thy husband, and he shall rule over thee", she was distraught over what appeared to be divine sanction of women's subjugation, but then reasoned that the injunction applied only to wives. Resolving to "call no man my master", she determined to keep control over her own life by never marrying, obtaining the highest education she could, and earning her own livelihood. Her biographer Andrea Moore Kerr writes, "Stone's personality was striking: her unquestioning willingness to take responsibility for other people's actions; her 'workaholic' habits; her self doubt; her desire for control." Teaching at "a woman's pay" At age 16, Stone began teaching in district schools, as her brothers and sister, Rhoda, also did. Her beginning pay of $1.00 a day was much lower than that of male teachers, and when she substituted for her brother, Bowman, one winter, she received less pay than he received. When she protested to the school committee that she had taught all the subjects Bowman had, it replied that they could give her "only a woman's pay." Lower pay for women was one of the arguments cited by those promoting the hiring of women as teachers: "To make education universal, it must be at moderate expense, and women can afford to teach for one-half, or even less, the salary which men would ask." Although Stone's salary increased along with the size of her schools, until she finally received $16 a month, it was always lower than the male rate. The "woman question" In 1836, Stone began reading newspaper reports of a controversy raging throughout Massachusetts that some referred to as the "woman question" – what was woman's proper role in society; should she assume an active and public role in the reform movements of the day? Developments within that controversy over the next several years shaped her evolving philosophy on women's rights. A debate over whether women were entitled to a political voice had begun when many women responded to William Lloyd Garrison's appeal to circulate antislavery petitions and sent thousands of signatures to Congress only to have them rejected, in part because women had sent them. Women abolitionists responded by holding a convention in New York City to expand their petitioning efforts, and declaring that "as certain rights and duties are common to all moral beings", they would no longer remain within limits prescribed by "corrupt custom and a perverted application of Scripture." After sisters Angelina and Sarah Grimké began speaking to audiences of men and women, instead of women-only groups, as was acceptable, a state convention of Congregational ministers issued a pastoral letter condemning women's assuming "the place of man as a public reformer" and "itinerat[ing] in the character of public lecturers and teachers." Stone attended the convention as a spectator, and was so angered by the letter that she determined "if ever [I] had anything to say in public, [I] would say it, and all the more because of that pastoral letter." Stone read Sarah Grimké's "Letters on the Province of Woman" (later republished as "Letters on the Equality of the Sexes"), and told a brother they only reinforced her resolve "to call no man master." She drew from these "Letters" when writing college essays and her later women's rights lectures. Having determined to obtain the highest education she could, Stone enrolled at Mount Holyoke Female Seminary in 1839, at the age of 21. But she was so disappointed in Mary Lyon's intolerance of antislavery and women's rights that she withdrew after only one term. The very next month she enrolled at Wesleyan Academy (later Wilbraham & Monson Academy), which she found more to her liking: "It was decided by a large majority in our literary society the other day," she reported to a brother "that ladies ought to mingle in politics, go to Congress, etc. etc." Stone read a newspaper account of how a Connecticut antislavery meeting had denied the right to speak or vote to Abby Kelley, recently hired as an antislavery agent to work in that state. Refusing to relinquish her right, Kelley had defiantly raised her hand every time a vote was taken. "I admire the calm and noble bearing of Abby K," Stone wrote to a brother, "and cannot but wish there were more kindred spirits." Three years later, Stone followed Kelley's example. In 1843, a deacon was expelled from Stone's church for his antislavery activities, which included supporting Kelley by hosting her at his home and driving her to lectures that she gave in the vicinity. When the first vote for expulsion was taken, Stone raised her hand in his defense. The minister discounted her vote, saying that, though she was a member of the church, she was not a voting member. Like Kelley, she stubbornly raised her hand for each of the remaining five votes. After completing a year at coeducational Monson Academy in the summer of 1841, Stone learned that Oberlin Collegiate Institute in Ohio had become the first college in the nation to admit women and had bestowed college degrees on three women. Stone enrolled at Quaboag Seminary in neighboring Warren, where she read Virgil and Sophocles and studied Latin and Greek grammar in preparation for Oberlin's entrance examinations. Oberlin In August 1843, just after she turned 25, Stone traveled by train, steamship, and stagecoach to Oberlin College in Ohio, the country's first college to admit both women and African Americans. She entered the college believing that women should vote and assume political office, that women should study the classic professions, and that women should be able to speak their minds in a public forum. Oberlin College did not share all of these sentiments. In her third year at Oberlin, Stone befriended Antoinette Brown, an abolitionist and suffragist who came to Oberlin in 1845 to study to become a minister. Stone and Brown would eventually marry abolitionist brothers and thus become sisters-in-law. Equal pay strike Stone hoped to earn most of her college expenses through teaching in one of the institute's lower departments. But because of its policy against employing first-year students as teachers, the only work Stone could get other than teaching at district schools during the winter break was housekeeping chores through the school's manual labor program. For this, she was paid three cents an hour—less than half what male students received for their work in the program. Among measures taken to reduce her expenses, Stone prepared her own meals in her dormitory room. In 1844 Stone was given a position teaching arithmetic in the Ladies Department, but again received reduced pay because of her sex. Oberlin's compensation policies required Stone to do twice the labor a male student had to do to pay the same costs. Stone frequently rose at two o'clock to fit in work and study, and she found her health declining. In February 1845, having decided to submit to the injustice no longer, she asked the Faculty Board for the same pay given two lesser-experienced male colleagues. When her request was denied, she resigned her position. Pleading with the faculty to restore Stone, her former students said they would pay Stone "what was right" if the college would not. Stone had planned to borrow money from her father when funds ran out, but Francis Stone, moved by his daughter's description of her struggles, promised to provide money when needed. Help from home was not needed, however, because after three months of pressure, the faculty yielded and hired Stone back, paying both her and other women student teachers at the same rate paid male student teachers. Public speaking In February 1846, Stone intimated to Abby Kelley Foster that she was thinking of becoming a public speaker, but not until the following summer did a storm of controversy over Foster's speaking at Oberlin decide the matter for her. Faculty opposition to Foster ignited impassioned discussion of women's rights among the students, especially of a woman's right to speak in public, which Stone vigorously defended in a joint meeting of the men's and women's literary societies. She followed that campus demonstration by making her first public speech at Oberlin's August 1 commemoration of Emancipation in the West Indies. In the fall of 1846, Stone informed her family of her intention to become a women's rights lecturer. Her brothers were at once supportive, her father encouraged her to do what she considered her duty, but her mother and only remaining sister begged her to reconsider. To her mother's fears that she would be reviled, Stone said she knew she would be disesteemed and even hated, but she must "pursue that course of conduct which, to me, appears best calculated to promote the highest good of the world." Stone then tried to gain practical speaking experience. Although women students could debate each other in their literary society, it was considered inappropriate for them to participate in oral exercises with men; women members of the collegiate rhetoric class were expected to learn by observing their male classmates. So Stone and first-year student Antoinette Brown, who also wanted to develop skill in public speaking, organized an off-campus women's debating club. After gaining a measure of competence, they sought and received permission to debate each other before Stone's rhetoric class. The debate attracted a large student audience as well as attention from the Faculty Board, which thereupon formally banned women's oral exercises in coeducational classes. Shortly thereafter, Stone accepted a challenge from a former editor of a county newspaper to a public debate on women's rights, and she soundly defeated him. She then submitted a petition to the Faculty Board, signed by most members of her graduating class, asking that women chosen to write graduation essays be permitted to read them themselves, as men so honored did, instead of having them read by faculty members. When the Faculty Board refused and Stone was elected to write an essay, she declined, saying she could not support a principle that denied women "the privilege of being co-laborers with men in any sphere to which their ability makes them adequate." Stone received her baccalaureate degree from Oberlin College on August 25, 1847, becoming the first female college graduate from Massachusetts. Antislavery apprenticeship Stone gave her first public speeches on women's rights in the fall of 1847, first at her brother Bowman's church in Gardner, Massachusetts, and a little later in Warren. Stone became a lecturing agent for the Massachusetts Anti-Slavery Society in June 1848, persuaded by Abby Kelley Foster that the experience would give her the speaking practice she still felt she needed before beginning her women's rights campaign. Stone immediately proved to be an effective speaker, reported to wield extraordinary persuasive power over her audiences. She was described as "a little meek-looking Quakerish body, with the sweetest, modest manners and yet as unshrinking and self-possessed as a loaded cannon." One of her assets, in addition to a storytelling ability that could move audiences to tears or laughter as she willed, was said to be an unusual voice that contemporaries compared to a "silver bell", and of which it was said, "no more perfect instrument had ever been bestowed upon a speaker." In addition to helping Stone develop as an orator, the antislavery agency introduced her to a network of progressive reformers within the Garrisonian wing of the abolition movement who assisted her women's rights work. In the fall of 1848, she received an invitation from Phoebe Hathaway of Farmington, New York, to lecture for the women who had organized the Seneca Falls women's rights convention and the Rochester women's rights convention earlier that summer. These rights conventions provided continuity for the woman's rights movement, even though no official organization was actually formed prior to the Civil War. Most of the well-known leaders at the time attended these conventions, except for those who were ill or sick. The best-known of them, Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, met, and worked together harmoniously as they wrote, discussed, and circulated petitions for the woman's rights movement. Although Stone accepted and expected to begin working for them in the fall of 1849, the agency never materialized. In April 1849, Stone was invited to lecture for the Philadelphia Female Anti-Slavery Society, and Lucretia Mott took advantage of her presence to hold Pennsylvania's first women's rights meeting on May 4, 1849. With the help of abolitionists, Stone conducted Massachusetts' first petition campaigns for the right of women to vote and hold public office. Wendell Phillips drafted the first petitions and accompanying appeals for circulation, and William Lloyd Garrison published them in The Liberator for readers to copy and circulate. When Stone sent petitions to the legislature in February 1850, over half were from towns where she had lectured. National Woman's Rights Convention In April 1850, the Ohio Women's Convention met in Salem, Ohio, a few weeks before a state convention met to revise the Ohio state constitution. The women's convention sent a communication to the constitutional convention requesting that the new constitution secure the same political and legal rights for women that were guaranteed to men. Stone sent a letter praising their initiative and said, "Massachusetts ought to have taken the lead in the work you are now doing, but if she chooses to linger, let her young sisters of the West set her a worthy example; and if the 'Pilgrim spirit is not dead,' we'll pledge Massachusetts to follow her." Some of the leaders asked Stone and Lucretia Mott to address the constitutional convention on their behalf, but believing such appeals should come from residents of the state, they declined. Women's rights conventions up to this point had been organized on a regional or state basis. During the annual convention of the American Anti-Slavery Society in Boston in 1850, with the support of Garrison and other abolitionists, Stone and Paulina Wright Davis posted a notice for a meeting to consider the possibility of organizing a women's rights convention on a national basis. The meeting was held at Boston's Melodeon Hall on May 30, 1850. Davis presided while Stone presented the proposal to the large and responsive audience and served as secretary. Seven women were appointed to organize the convention, with Davis and Stone assigned to conduct the correspondence needed to solicit signatures to the call and recruit speakers and attendance. A few months before the convention, Stone contracted typhoid fever while traveling in Indiana and nearly died. The protracted nature of Stone's illness left Davis as the principal organizer of the first National Women's Rights Convention, which met on October 23–24, 1850, in Brinley Hall in Worcester, Massachusetts, with an attendance of about a thousand. Stone was able to attend the Worcester convention, but frail health limited her participation, and she made no formal address until the closing session. The convention decided not to establish a formal association but to exist as an annual convention with a standing committee to arrange its meetings, publish its proceedings, and execute adopted plans of action. Stone was appointed to the Central Committee of nine women and nine men. The following spring, she became secretary of the committee and, except for one year, retained that position until 1858. As secretary, Stone took a leading part in organizing and setting the agenda for the national conventions throughout the decade. Woman's rights orator In May 1851, while in Boston attending the New England Anti-Slavery Society's annual meeting, Stone went to the exhibit of Hiram Powers's statue The Greek Slave. She was so moved by the sculpture that when she addressed the meeting that evening, she poured out her heart about the statue being emblematic of all enchained womanhood. Stone said the society's general agent, Samuel May, Jr., reproached her for speaking on women's rights at an antislavery meeting, and she replied, "I was a woman before I was an abolitionist. I must speak for women." Three months later, Stone notified May that she intended to lecture on women's rights full-time and would not be available for antislavery work. Stone launched her career as an independent women's rights lecturer on October 1, 1851. When May continued to press antislavery work upon her, she agreed to lecture for the Massachusetts Anti-Slavery Society on Sundays. Arranging women's rights lectures around these engagements, she used pay for her antislavery work to defray expenses of her independent lecturing until she felt confident enough to charge admission. Dress reform When Stone resumed lecturing in the fall of 1851, she wore a new style of dress that she had adopted during her winter convalescence, consisting of a loose, short jacket and a pair of baggy trousers under a skirt that fell a few inches below the knees. The dress was a product of the health-reform movement and intended to replace the fashionable French dress of a tight bodice over a whalebone-fitted corset, and a skirt that dragged several inches on the floor, worn over several layers of starched petticoats with straw or horsehair sewn into the hems. Ever since the fall of 1849, when the Water-Cure Journal urged women to invent a style of dress that would allow them to use their legs freely, women across the country had been wearing some form of pants and short skirt, generally called the "Turkish costume" or the "American dress." Most wore it as a walking or gardening dress, but a letter writer to the National Woman's Rights Convention urged women to adopt it as common attire. By the spring of 1851, women in several states were wearing the dress in public. In March, Amelia Bloomer, editor of the temperance newspaper The Lily, announced that she was wearing it and printed a description of her dress along with instructions on how to make it. Soon, newspapers had dubbed it the Bloomer dress, and the name stuck. The Bloomer became a fashion fad during the following months, as women from Toledo to New York City and Lowell, Massachusetts, held reform-dress social events and festivals. Supporters gathered signatures to a "Declaration of Independence from the Despotism of Parisian Fashion" and organized dress-reform societies. A few Garrisonian supporters of women's rights took prominent part in these activities, and one offered silk to any of his friends who would make it into a short skirt and trousers for a public dress. Stone accepted the offer. When Stone lectured in the dress in the fall of 1851, hers was the first Bloomer most of her audiences had ever seen. But by then, the dress had become controversial. Although newspapers had initially praised the practicality of the new style, they soon turned to ridicule and condemnation, now viewing the trousers as a usurpation of the symbol of male authority. Many women retreated in the face of criticism, but Stone continued to wear the short dress exclusively for the next three years. She also wore her hair short, cut just below her jaw line. After Stone lectured in New York City in April 1853, the report of her speeches in the Illustrated News was accompanied by this engraving of Stone in the Bloomer dress. Stone found the short skirt convenient during her travels and defended it against those who said it was a distraction that hurt the women's rights cause. Nevertheless, she disliked the instant attention it drew whenever she arrived in a new place. In the fall of 1854, she added a dress a few inches longer, for occasional use. In 1855, she abandoned the dress altogether and was not involved in the formation of a National Dress Reform Association in February 1856. Her resumption of long skirts drew the condemnation of such dress-reform leaders as Gerrit Smith and Lydia Sayer Hasbrouk, who accused her of sacrificing principle for the sake of pleasing a husband. Expulsion from church Stone's anti-slavery work included harsh criticism of churches that refused to condemn slavery. Her own church in West Brookfield, the First Congregational Church of West Brookfield, was one of those, having expelled a deacon for anti-slavery activities. In 1851, the church expelled Stone herself. Stone had already moved significantly away from that church's Trinitarian doctrines. While at Oberlin, Stone had arranged for her friend Abby Kelley Foster and her new husband, Stephen Symonds Foster, to speak there on the abolition of slavery. Afterwards, Charles Finney, a prominent professor of theology at Oberlin, denounced the Fosters for their Unitarian beliefs. Intrigued, Stone began to engage in classroom discussions about the Trinitarian-Unitarian controversy and ultimately decided that she was a Unitarian. Expelled from her childhood church, she affiliated with the Unitarian church. Issues of divorce Before her own marriage, Stone felt that women should be allowed to divorce drunken husbands, to formally end a "loveless marriage" so that "a true love may grow up in the soul of the injured one from the full enjoyment of which no legal bond had a right to keep her ...Whatever is pure and holy, not only has a right to be, but it has a right also to be recognized, and further, I think it has no right not to be recognized." Stone's friends often felt differently about the issue; "Nettee" Brown wrote to Stone in 1853 that she was not ready to accept the idea, even if both parties wanted divorce. Stanton was less inclined to clerical orthodoxy; she was very much in favor of giving women the right to divorce, eventually coming to the view that the reform of marriage laws was more important than women's voting rights. In the process of planning for women's rights conventions, Stone worked against Stanton to remove from any proposed platform the formal advocacy of divorce. Stone wished to keep the subject separate, to prevent the appearance of moral laxity. She pushed "for the right of woman to the control of her own person as a moral, intelligent, accountable being." Other rights were certain to fall into place after women were given control of their own bodies. Years later, Stone's position on divorce would change. Differences with Douglass In 1853, Stone drew large audiences with a lecture tour through several southern states. Former slave Frederick Douglass rebuked her in his abolitionist newspaper, accusing her of achieving success by putting her anti-slavery principles aside and speaking only of women's rights. Douglass later found Stone at fault for speaking at a whites-only Philadelphia lecture hall, but Stone insisted that she had replaced her planned speech that day with an appeal to the audience to boycott the facility. It took years before the two were reconciled. Western tour On October 14, 1853, following the National Woman's Rights Convention held in Cleveland, Ohio, Stone and Lucretia Mott addressed Cincinnati's first women's rights meeting, arranged by Henry Blackwell, a local businessman from a family of capable women, who had taken an interest in Stone. After that successful meeting, Stone accepted Blackwell's offer to arrange a lecture tour for her in the western states – considered then to be those west of Pennsylvania and Virginia. Over the following thirteen weeks, Stone gave over forty lectures in thirteen cities, during which a report to the New York Tribune said she was stirring the West on women's rights "as it is seldom stirred on any subject whatsoever." After four lectures in Louisville, Stone was begged to repeat the entire course and told she was having more effect there than she could have anywhere else. An Indianapolis newspaper reported that Stone "set about two-thirds of the women in the town crazy after women's rights and placed half the men in a similar predicament." St. Louis papers said her lectures attracted the largest crowds ever assembled there, filling the city's largest auditorium beyond its capacity of two thousand. Chicago papers praised her lectures as the best of the season, and said they were inspiring discussion and debate in the city's homes and meeting places. When Stone headed home in January, 1854, she left behind incalculable influence. From 1854 through 1858, Stone lectured on women's rights in Massachusetts, Maine, New Hampshire, Vermont, Connecticut, Rhode Island, New York, Pennsylvania, Delaware, New Jersey, Washington, D.C., Ohio, Indiana, Illinois, Michigan, Wisconsin and Ontario. Elizabeth Cady Stanton would later write that "Lucy Stone was the first speaker who really stirred the nation's heart on the subject of woman's wrongs." Petitioning and hearings In addition to being the women's rights movement's most prominent spokesperson, Lucy Stone led the movement's petitioning efforts. She initiated petition efforts in New England and several other states and assisted the petitioning efforts of state and local organizations in New York, Ohio, and Indiana. Massachusetts After petitioning the Massachusetts legislature from 1849 through 1852 for the right of women to vote and serve in public office, Stone aimed her 1853 petitions at the convention that would meet on May 4, 1853, to revise the state constitution. Wendell Phillips drafted both the petition asking that the word "male" be stricken wherever it appeared in the constitution, and an appeal urging Massachusetts citizens to sign it. After canvassing the state for nine months, Stone sent the convention petitions bearing over five thousand signatures. On May 27, 1853, Stone and Phillips addressed the convention's Committee on Qualifications of Voters. In reporting Stone's hearing, the Liberator noted: "Never before, since the world was made, in any country, has woman publicly made her demand in the hall of legislation to be represented in her own person, and to have an equal part in framing the laws and determining the action of government." Multi-state campaigns Stone called a New England Woman's Rights Convention in Boston on June 2, 1854, to expand her petitioning efforts. The convention adopted her resolution for petitioning all six New England legislatures, as well as her proposed form of petition, and it appointed a committee in each state to organize the work. In a speech before the second New England Woman's Rights Convention, held in June 1855, Stone urged that one reason women needed suffrage was to protect any gains achieved, reminding them that "the next Legislature may undo all that the last have done for women." The convention adopted a resolution calling the ballot "woman's sword and shield; the means of achieving and protecting all other civil rights" and another urging the national convention to make suffrage petitioning its priority. The next National Woman's Rights Convention met in Cincinnati on October 17 and 18, 1855. It was here that Stone delivered impromptu remarks that became famous as her "disappointment" speech. When a heckler interrupted the proceedings, calling female speakers "a few disappointed women", Stone retorted that yes, she was indeed a "disappointed woman." "In education, in marriage, in religion, in everything, disappointment is the lot of woman. It shall be the business of my life to deepen this disappointment in every woman's heart until she bows down to it no longer." The convention adopted Stone's resolution calling for the circulation of petitions and saying it was "the duty of women in their respective States to ask the legislators for the elective franchise." Following the convention, suffrage petitioning took place in the New England states, New York, Ohio, Indiana, Illinois, Michigan, Wisconsin and Nebraska, with resultant legislative hearings or action in Nebraska and Wisconsin. Amelia Bloomer, recently moved to Iowa near the Nebraska border, took up the work in that area, while the Indiana Woman's Rights Society, at least one of whose officers was at the Cincinnati convention, directed the work in Indiana. Stone had helped launch the New York campaign at a state woman's rights convention in Saratoga Springs in August, and at the Cleveland convention recruited workers for it, as well as for the work in Illinois, Michigan and Ohio. Stone took charge of the work in Ohio, her new home state, drafting its petition, placing it in Ohio newspapers and circulating it during lectures across southern Ohio while her recruit worked in the northern part of the state. Stone also lectured in Illinois and Indiana in support of the petition drives there and personally introduced the work in Wisconsin, where she found volunteers to circulate the petition and legislators to introduce them in both houses of the legislature. At the national convention of 1856, Stone presented a new strategy suggested by Antoinette Brown Blackwell to send a memorial to the various state legislatures signed by the officers of the National Woman's Rights Convention. Antoinette Brown had married Samuel Charles Blackwell on January 24, 1856, becoming Stone's sister-in-law in the process. Stone, Brown Blackwell, and Ernestine Rose were appointed a committee to carry out the plan. Stone drafted and printed the appeal, and Brown Blackwell mailed it to twenty-five state legislatures. Indiana and Pennsylvania referred the memorial to select committees, while both Massachusetts and Maine granted hearings. On March 6, 1857, Stone, Wendell Phillips and James Freeman Clarke addressed the Judiciary Committee of the Massachusetts senate, and on March 10, Stone and Phillips addressed a select committee of the Maine legislature. On July 4, 1856, in Viroqua, Wisconsin, Stone gave the first women's rights and anti-slavery speech delivered by a woman in the area. Tax protest In January 1858, Stone staged a highly publicized protest that took the issue of taxation without representation across the nation. The previous summer she and Blackwell had purchased a house in Orange, New Jersey, and when the first tax bill came, Stone returned it unpaid with the explanation that taxing women while denying them the right to vote was a violation of America's founding principles. On January 22, 1858, the city auctioned some of her household goods to pay the tax and attendant court costs. The following month, Stone and Blackwell spoke on taxation without representation before two large meetings in Orange, and circulated petitions asking the New Jersey legislature for woman's suffrage. Stone's protest inspired other tax-paying women to action: some followed her example and refused to pay taxes, with one case reaching the Massachusetts Supreme Court in 1863, while others went to the polls to demand their right as taxpayers to vote. Marriage Henry Blackwell began a two-year courtship of Stone in the summer of 1853. Stone told him she did not wish to marry because she did not want to surrender control over her life and would not assume the legal position occupied by a married woman. Blackwell maintained that despite the law, couples could create a marriage of equal partnership, governed by their mutual agreement. They could also take steps to protect the wife against unjust laws, such as placing her assets in the hands of a trustee. He also believed that marriage would allow each partner to accomplish more than he or she could alone, and to show how he could help advance Stone's work, he arranged her highly successful western lecturing tour of 1853. Over an eighteen-month courtship conducted primarily through correspondence, Stone and Blackwell discussed the nature of marriage, actual and ideal, as well as their own natures and suitability for marriage. Stone gradually fell in love and in November 1854 agreed to marry Blackwell. Stone and Blackwell developed a private agreement aimed at preserving and protecting Stone's financial independence and personal liberty. In monetary matters, they agreed that the marriage be like a business partnership, with the partners being "joint proprietors of everything except the results of previous labors." Neither would have claim to lands belonging to the other, nor any obligation for the other's costs of holding them. While married and living together they would share earnings, but if they should separate, they would relinquish claim to the other's subsequent earnings. Each would have the right to will their property to whomever they pleased unless they had children. Over Blackwell's objections, Stone refused to be supported and insisted on paying half of their mutual expenses. In addition to financial independence, Stone and Blackwell agreed that each would enjoy personal independence and autonomy: "Neither partner shall attempt to fix the residence, employment, or habits of the other, nor shall either partner feel bound to live together any longer than is agreeable to both." During their discussion of marriage, Stone had given Blackwell a copy of Henry C. Wright's book Marriage and Parentage; Or, The Reproductive Element in Man, as a Means to His Elevation and Happiness, and asked him to accept its principles as what she considered the relationship between husband and wife should be. Wright proposed that because women bore the results of sexual intercourse, wives should govern a couple's marital relations. In accordance with that view, Blackwell agreed that Stone would choose "when, where and how often" she would "become a mother." In addition to this private agreement, Blackwell drew up a protest of laws, rules, and customs that conferred superior rights on husbands and, as part of the wedding ceremony, pledged never to avail himself of those laws. The wedding took place at Stone's home in West Brookfield, Massachusetts, on May 1, 1855, with Stone's close friend and co-worker Thomas Wentworth Higginson officiating. Higginson sent a copy of Stone and Blackwell's Protest to the Worcester Spy, and from there it spread across the country. While some commentators viewed it as a protest against marriage itself, others agreed that no woman should resign her legal existence without such formal protest against the despotism that forced her to forgo marriage and motherhood or submit to the degradation in which law placed a married woman. It inspired other couples to make similar protests part of their wedding ceremonies. Keeping her name Stone viewed the tradition of wives abandoning their own surname to assume that of their husbands as a manifestation of the legal annihilation of a married woman's identity. Immediately after her marriage, with the agreement of her husband, she continued to sign correspondence as "Lucy Stone" or "Lucy Stone – only." But during the summer, Blackwell tried to register the deed for property Stone purchased in Wisconsin, and the registrar insisted she sign it as "Lucy Stone Blackwell." The couple consulted Blackwell's friend, Salmon P. Chase, a Cincinnati lawyer and future Chief Justice of the U.S. Supreme Court, who was not immediately able to answer their question about the legality of her name. So while continuing to sign her name as Lucy Stone in private correspondence, for eight months she signed her name as Lucy Stone Blackwell on public documents and allowed herself to be so identified in convention proceedings and newspaper reports. But upon receiving assurance from Chase that no law required a married woman to change her name, Stone made a public announcement at the May 7, 1856, convention of the American Anti-Slavery Society in Boston that her name remained Lucy Stone. In 1879, when Boston women were granted the franchise in school elections, Stone registered to vote. But officials notified her that she would not be allowed to vote unless she added "Blackwell" to her signature. This she refused to do, and so she was not able to vote. Because her time and energy were consumed with suffrage work, she did not challenge the action in a court of law. Children Stone and Blackwell had one daughter, Alice Stone Blackwell, born September 14, 1857, who became a leader of the suffrage movement and wrote the first biography of her mother, Lucy Stone: Pioneer Woman Suffragist. In 1859, while the family was living temporarily in Chicago, Stone miscarried and lost a baby boy. Waning activism After her marriage, from the summer of 1855 to the summer of 1857, Stone continued a full lecturing, petitioning, and organizing schedule. In January 1856, Stone was accused in court, and spoke in defense of a rumor put forward by the prosecution that Stone gave a knife to former slave Margaret Garner, on trial for the killing of her own child to prevent it from being enslaved. Stone was said to have slipped the prisoner the knife so that Garner could kill herself if she was forced to return to slavery. Stone was referred to by the court as "Mrs. Lucy Stone Blackwell" and was asked if she wanted to defend herself; she preferred to address the assembly off the record after adjournment, saying "...With my own teeth I would tear open my veins and let the earth drink my blood, rather than wear the chains of slavery. How then could I blame her for wishing her child to find freedom with God and the angels, where no chains are?" The birth of her daughter in September 1857, however, began to reduce the level of her activism. Stone had made preliminary arrangements for the 1857 national convention to be held in Providence, but because she would not be able to attend it, she handed responsibility to Susan B. Anthony and Thomas Wentworth Higginson. When the Panic of 1857 disrupted Anthony's plan to move the convention to Chicago, Stone made the announcement that the next National Woman's Rights Convention would be in May 1858. Anthony helped Stone arrange the 1858 convention and then took sole responsibility for the 1859 meeting. Elizabeth Cady Stanton took charge of the 1860 convention. Stone hired a nursemaid to help care for her daughter, who was in poor health for several years, but she didn't trust her ability to provide proper care when Stone was absent. Stone eventually withdrew from most public work to stay at home with her child. She resigned from the Central Committee, which organized the annual women's rights conventions. She began to suffer from self-doubt and a lack of drive in addition to the debilitating headaches that had plagued her for years. She made only two public appearances during the Civil War (1861–1865): to attend the founding convention of the Women's Loyal National League and the celebration of the thirtieth anniversary of the American Anti-Slavery Society, both in 1863. Stone began to increase her reform activities back to a normal level after the Civil War had ended. As a lifelong believer in nonresistance, Stone could not support the war effort as so many of her friends did. She could certainly support the drive to end slavery, however, which the war had made into a realistic possibility. In 1863, Elizabeth Cady Stanton and Susan B. Anthony organized the Women's Loyal National League, the first national women's political organization in the U.S. It collected nearly 400,000 signatures on petitions to abolish slavery in the largest petition drive in the nation's history up to that time. Despite her reduced public activity, Stone agreed to preside over the League's founding convention, and she later agreed to manage its office for two weeks to give Anthony a badly-needed break. She declined, however, to go on lecture tours for the League. Henry Blackwell had for years worked with real estate investments. In 1864, amid wartime inflation, his investments began to pay off handsomely. Stone was enormously relieved to have the family freed from the debts that had been contracted to buy investment property. This major improvement in the family's finances enabled Blackwell to scale back his business efforts and devote more of his time to social reform activities. Beginning to ease back into public activity, Stone embarked on a lecture tour on women's rights in New York and New England in the autumn of 1865. She was still experiencing periods of self-doubt a year later, but, with Blackwell's encouragement, she traveled with him on a joint lecture tour in 1866. National organizations American Equal Rights Association Slavery was abolished in December 1865 with the ratification of the Thirteenth Amendment to the U.S. Constitution, which raised questions about the future role of the American Anti-Slavery Society (AASS). In January 1866, Stone and Anthony traveled to an AASS meeting in Boston to propose a merger of the anti-slavery and women's movements into one that would campaign for equal rights for all citizens. The AASS, preferring to focus on the rights of African Americans, especially the newly freed slaves, rejected their proposal. In May 1866, Anthony and Stanton organized the Eleventh National Women's Rights Convention, the first since before the Civil War began. In a move similar to the proposal that had been made earlier to anti-slavery forces, the convention voted to transform itself into a new organization called the American Equal Rights Association (AERA), whose purpose was to campaign for the equal rights for all, especially the right of suffrage. Stone did not attend the AERA's founding convention, most likely for fear of the recent cholera outbreak in New York City, the meeting's location. She was nevertheless elected to the new organization's executive committee. Blackwell was elected as the AERA's recording secretary. In 1867, Stone and Blackwell opened the AERA's difficult campaign in Kansas in support of referenda in that state that would enfranchise both African Americans and women. They led the effort for three months before turning the work over to others and returning home. Neither of the Kansas referenda was approved by the voters. Disagreements over tactics used during the Kansas campaign contributed to a growing split in the women's movement, which was formalized after the AERA convention in 1869. Split within the women's movement The immediate cause of the split was the proposed Fifteenth Amendment, which would prohibit the denial of suffrage because of race. In one of their most controversial moves, Anthony and Stanton campaigned against the amendment, insisting that women and African Americans should be enfranchised at the same time. They said that by effectively enfranchising all men while excluding all women, the amendment would create an "aristocracy of sex" by giving constitutional authority to the idea that men were superior to women. Stone supported the amendment. She had expected, however, that progressive forces would push for the enfranchisement of African Americans and women at the same time and was distressed when they did not. In 1867, she wrote to Abby Kelley Foster, an abolitionist, to protest the plan to enfranchise black men first. "O Abby", she wrote, "it is a terrible mistake you are all making... There is no other name given by which this country can be saved, but that of woman." In a dramatic debate with Frederick Douglass at the AERA convention in 1869, Stone argued that suffrage for women was more important than suffrage for African Americans. She nevertheless supported the amendment, saying, "But I thank God for that XV. Amendment, and hope that it will be adopted in every State. I will be thankful in my soul if any body can get out of the terrible pit. But I believe that the safety of the government would be more promoted by the admission of woman as an element of restoration and harmony than the negro." Stone and her allies expected that their active support for the amendment to enfranchise black men would lead their abolitionist friends in Congress to push for an amendment to enfranchise women as the next step, but that did not happen. Henry Blackwell, Stone's husband and an important figure in the suffrage movement in the coming years, also supported the amendment. His special interest, however, which he pursued for decades, was in convincing southern politicians that the enfranchisement of women would help to ensure white supremacy in their region. In 1867, he published an open letter to southern legislatures, assuring them that if both blacks and women were enfranchised, "the political supremacy of your white race will remain unchanged" and "the black race would gravitate by the law of nature toward the tropics." Stone's reaction to this idea is unknown. The AERA essentially collapsed after its acrimonious convention in May 1869, and two competing woman suffrage organizations were created in its aftermath. Two days after the convention, Anthony, Stanton and their allies formed the National Woman Suffrage Association (NWSA). In November 1869, Lucy Stone, Julia Ward Howe and their allies formed the competing American Woman Suffrage Association (AWSA). The AWSA initially was the larger of the two organizations, but it declined in strength during the 1880s. Even after the Fifteenth Amendment was ratified in 1870, differences between the two organizations remained. The AWSA worked almost exclusively for women's suffrage while the NWSA initially worked on a wide range of issues, including divorce reform and equal pay for women. The AWSA included both men and women among its leadership while the NWSA was led by women. The AWSA worked for suffrage mostly at the state level while the NWSA worked more at the national level. The AWSA cultivated an image of respectability while the NWSA sometimes used confrontational tactics. Divorce and "free love" In 1870, at the twentieth anniversary celebration of the first National Women's Rights Convention in Worcester, Stanton spoke for three hours rallying the crowd for women's right to divorce. By then, Stone's position on the matter had shifted significantly. Personal differences between Stone and Stanton came to the fore on the issue, with Stone writing "We believe in marriage for life, and deprecate all this loose, pestiferous talk in favor of easy divorce." Stone made it clear that those wishing for "free divorce" were not associated with Stone's organization AWSA, headed at that time by Reverend Henry Ward Beecher. Stone wrote against 'free love:' "Be not deceived—free love means free lust." This editorial position would come back to haunt Stone. Also in 1870, Elizabeth Roberts Tilton told her husband Theodore Tilton that she had been carrying on an adulterous relation with his good friend Henry Ward Beecher. Theodore Tilton published an editorial saying that Beecher "has at a most unseemly time of life been detected in improper intimacies with certain ladies of his congregation." Tilton also informed Stanton about the alleged affair, and Stanton passed the information to Victoria Woodhull. Woodhull, a free love advocate, printed innuendo about Beecher, and began to woo Tilton, convincing him to write a book of her life story from imaginative material that she supplied. In 1871, Stone wrote to a friend "my one wish in regard to Mrs. Woodhull is, that [neither] she nor her ideas, may be so much as heard of at our meeting." Woodhull's self-serving activities were attracting disapproval from both centrist AWSA and radical NWSA. To divert criticism from herself, Woodhull published a denunciation of Beecher in 1872 saying that he practiced free love in private while speaking out against it from the pulpit. This caused a sensation in the press, and resulted in an inconclusive legal suit and a subsequent formal inquiry lasting well into 1875. The furor over adultery and the friction between various camps of women's rights activists took focus away from legitimate political aims. Henry Blackwell wrote to Stone from Michigan where he was working toward putting woman suffrage into the state constitution, saying "This Beecher-Tilton affair is playing the deuce with [woman suffrage] in Michigan. No chance of success this year I fancy." Voting rights In 1870, Stone and Blackwell moved from New Jersey to Dorchester, Massachusetts, which today is a neighborhood of Boston just south of downtown. There they purchased Pope's Hill, a seventeen-room house with extensive grounds and several outbuildings. Many of the town's women had been active in the Dorchester Female Anti-Slavery Society and, by 1870, a number of local women were suffragists. New England Woman Suffrage Association At her new home, Stone worked closely with the New England Woman Suffrage Association (NEWSA), the first major political organization in the U.S. with women's suffrage as its goal. Two years earlier she had traveled to Boston to participate in its founding convention and had been elected to its executive committee. In 1877, she became its president and served in that position until her death in 1893. Woman's Journal In 1870, Stone and Blackwell founded the Woman's Journal, an eight-page weekly newspaper based in Boston. Originally intended primarily to voice the concerns of the NEWSA and the AWSA, by the 1880s it had become an unofficial voice of the suffrage movement as a whole. Stone edited the journal for the rest of her life, assisted by her husband and their daughter Alice Stone Blackwell. Stone did not collect a salary for her work on the paper, which required continual financial support. One of her greatest challenges was raising money to keep it going. Its circulation reached a peak of 6,000, although in 1878 it was 2,000 less than it had been two years earlier. After the AWSA and NWSA merged to form the National American Woman Suffrage Association (NAWSA) in 1890, the Woman's Journal became its official voice and eventually the basis for a newspaper with a much wider circulation. In 1917, at a time when victory for women's suffrage was coming closer, Carrie Chapman Catt, leader of the NAWSA, said, "There can be no overestimating the value to the suffrage cause of the Woman's Journal... The suffrage success of to-day is not conceivable without the Woman's Journal'''s part in it. "The Colorado Lesson" In 1877, Stone was asked by Rachel Foster Avery to come assist Colorado activists in the organization of a popular referendum campaign with the aim of gaining suffrage for Coloradan women. Together, Stone and Blackwell worked the northern half of the state in late summer, while Susan Anthony traveled the less-promising rough-and-tumble southern half. Patchwork and scattered support was reported by activists, with some areas more receptive. Latino voters proved largely uninterested in voting reform; some of that resistance was blamed on the extreme opposition to the measure voiced by the Roman Catholic bishop of Colorado. All but a handful of politicians in Colorado ignored the measure, or actively fought it. Stone concentrated on convincing Denver voters during the October ballot, but the measure lost heavily, with 68% voting against it. Married working men showed the greatest support, and young single men the least. Blackwell called it "The Colorado Lesson", writing that "Woman suffrage can never be carried by a popular vote, without a political party behind it." School board vote In 1879, after Stone organized a petition by suffragists across the state, Massachusetts women were given strictly delimited voting rights: a woman who could prove the same qualifications as a male voter was allowed to cast her vote for members of the school board. Lucy Stone applied to the voting board in Boston but was required to sign her husband's surname as her own. She refused, and never participated in that vote. Reconciliation In 1887, eighteen years after the rift formed in the American women's rights movement, Stone proposed a merger of the two groups. Plans were drawn up, and, at their annual meetings, propositions were heard and voted on, then passed to the other group for evaluation. By 1890, the organizations resolved their differences and merged to form the National American Woman Suffrage Association (NAWSA). Stone was too weak with heart problems and respiratory illness to attend its first convention but was elected chair of the executive committee. Stanton was president of the new organization, but Anthony, who had the title of vice president, was its leader in practice. Starting early in January 1891, Carrie Chapman Catt visited Stone repeatedly at Pope's Hill, for the purpose of learning from Stone about the ways of political organizing. Stone had previously met Catt at an Iowa state woman's suffrage convention in October, 1889, and had been impressed at her ambition and sense of presence, saying "Mrs. Chapman will be heard from yet in this movement." Stone mentored Catt the rest of that winter, giving her a wealth of information about lobbying techniques and fund-raising. Catt later used the teaching to good effect in leading the final drive to gain women the vote in 1920. Catt, Stone and Blackwell went together to the January, 1892 NAWSA convention in Washington, DC. Along with Isabella Beecher Hooker, Stone, Stanton and Anthony, the "triumvirate" of women's suffrage, were called away from the convention's opening hours by an unexpected woman suffrage hearing before the United States House Committee on the Judiciary. Stone told the assembled congressmen "I come before this committee with the sense which I always feel, that we are handicapped as women in what we try to do for ourselves by the single fact that we have no vote. This cheapens us. You do not care so much for us as if we had votes..." Stone argued that men should work to pass laws for equality in property rights between the sexes. Stone demanded an eradication of coverture, the folding of a wife's property into that of her husband. Stone's impromptu speech paled in comparison to Stanton's brilliant outpouring which preceded hers. Stone later published Stanton's speech in its entirety in the Woman's Journal as "Solitude of Self".Library of Congress. American Memory. Votes for Women: Selections from the National American Woman Suffrage Association Collection, 1848–1921. "Solitude of self": address delivered by Mrs. Stanton before the Committee of the Judiciary of the United States Congress, Monday, January 18, 1892. Retrieved on April 30, 2009. Back at the NAWSA convention, Anthony was elected president, with Stanton and Stone becoming honorary presidents. Final appearance In 1892, Stone was convinced to sit for a portrait in sculpture, rendered by Anne Whitney, sculptor and poet. Stone had previously protested the proposed portrait for more than a year, saying that the funds to engage an artist would be better spent on suffrage work. Stone finally yielded to pressure from Frances Willard, the New England Women's Club and some of her friends and neighbors in the Boston area, and sat while Whitney produced a bust. In February 1893, Stone invited her brother Frank and his wife Sarah to come see the bust, before it was shipped to Chicago for display at the upcoming World's Columbian Exposition. Stone went with her daughter to Chicago in May 1893 and gave her last public speeches at the World's Congress of Representative Women where she saw a strong international involvement in women's congresses, with almost 500 women from 27 countries speaking at 81 meetings, and attendance topping 150,000 at the week-long event. Stone's immediate focus was on state referenda under consideration in New York and Nebraska. Stone presented a speech she had prepared entitled "The Progress of Fifty Years" wherein she described the milestones of change, and said "I think, with never-ending gratitude, that the young women of today do not and can never know at what price their right to free speech and to speak at all in public has been earned." Stone met with Carrie Chapman Catt and Abigail Scott Duniway to form a plan for organizing in Colorado, and Stone attended two days of meetings about getting a woman suffrage drive restarted in Kansas. Stone and her daughter returned home to Pope's Hill on May 28. Those who knew Stone well thought her voice was lacking strength. In August when she and her husband Harry wanted to take part in more meetings at the Exposition, she was too weak to go. Stone was diagnosed as suffering from advanced stomach cancer in September. She wrote final letters to friends and relatives. Having "prepared for death with serenity and an unwavering concern for the women's cause", Lucy Stone died on October 18, 1893, at the age of 75. At her funeral three days later, 1,100 people crowded the church, and hundreds more stood silently outside. Six women and six men served as pallbearers, including sculptor Anne Whitney, and Stone's old abolitionist friends Thomas Wentworth Higginson and Samuel Joseph May. Mourners lined the streets for a sight of the funeral procession, and front-page banner headlines ran in news accounts. Stone's death was the most widely reported of any American woman's up to that time. According to her wishes, her body was cremated, making her the first person cremated in Massachusetts, though a wait of over two months was undertaken while the crematorium at Forest Hills Cemetery could be completed. Stone's remains are interred at Forest Hills; a chapel there is named after her. Legacy Lucy Stone's refusal to take her husband's name, as an assertion of her own rights, was controversial then, and is largely what she is remembered for today. Women who continue to use their maiden name after marriage are still occasionally known as "Lucy Stoners" in the United States. In 1921, the Lucy Stone League was founded in New York City by Ruth Hale, described in 1924 by Time as the "'Lucy Stone'-spouse" of Heywood Broun. The League was re-instituted in 1997. Susan B. Anthony, Elizabeth Cady Stanton, Matilda Joslyn Gage and Ida Husted Harper began in 1876 to write the History of Woman Suffrage. They planned for one volume but finished four before the death of Anthony in 1906, and two more afterward. The first three volumes chronicled the beginnings of the women's rights movement, including the years that Stone was active. Because of differences between Stone and Stanton that had been highlighted in the schism between NWSA and AWSA, Stone's place in history was marginalized in the work. The text was used as the standard scholarly resource on 19th-century U.S. feminism for much of the 20th century, causing Stone's extensive contribution to be overlooked in many histories of women's causes. On August 13, 1968, the 150th anniversary of her birth, the U.S. Postal Service honored Stone with a 50¢ postage stamp in the Prominent Americans series. The image was adapted from a photograph included in Alice Stone Blackwell's biography of Stone. In 1986, Stone was inducted into the National Women's Hall of Fame. In 1999, a series of six tall marble panels with a bronze bust in each was added to the Massachusetts State House; the busts are of Stone, Florence Luscomb, Mary Kenney O'Sullivan, Josephine St. Pierre Ruffin, Sarah Parker Remond, and Dorothea Dix. As well, two quotations from each of those women (including Stone) are etched on their own marble panel, and the wall behind all the panels has wallpaper made of six government documents repeated over and over, with each document being related to a cause of one or more of the women. In 2000, Amy Ray of the Indigo Girls included a song entitled Lucystoners on her first solo recording, Stag. An administration and classroom building on Livingston Campus at Rutgers University in New Jersey is named for Lucy Stone. Warren, Massachusetts contains a Lucy Stone Park, along the Quaboag River. Anne Whitney's 1893 bust of Lucy Stone is on display in Boston's Faneuil Hall building. She is featured on the Boston Women's Heritage Trail. On September 19, 2018, the U.S. Secretary of the Navy Ray Mabus announced the name of the fifth ship of a six unit construction contract as USNS Lucy Stone (T-AO 209). This ship with be part of the latest John Lewis-class of Fleet Replenishment Oilers named in honor of U.S. civil and human rights heroes currently under construction at General Dynamics NASSCO in San Diego, CA. Home Stone's birthplace, the Lucy Stone Home Site, is owned and managed by The Trustees of Reservations, a non-profit land conservation and historic preservation organization dedicated to preserving natural and historic places in the Commonwealth of Massachusetts. The site includes 61 acres of forested land on the side of Coys Hill in West Brookfield, Massachusetts. Although the farmhouse in which Stone was born and married burned to the ground in 1950, its ruins are at the center of the property. At the time of Stone's wedding, both her parents and a married brother and his family lived in the two-and-one-half-story house, and family descendants continued to live there until 1936. In 1915, a pilgrimage of suffragists placed a memorial tablet on the house, which read: "This house was the birthplace of Lucy Stone, pioneer advocate of equal rights for women. Born August 13, 1818. Married May 1, 1855, died October 18, 1893. In grateful memory Massachusetts suffragists placed this tablet August 13, 1915." That tablet, severely damaged but surviving the 1950 fire, is now in the Quaboag Historical Society Museum. After the fire, the surrounding farmland was abandoned and left to revert to forest, and it is now used for hunting and harvesting timber. The Trustees acquired the home site in 2002 and have been maintaining the property ever since. See also First-wave feminism History of feminism List of civil rights leaders List of suffragists and suffragettes Lucy Stone League Timeline of women's suffrage Women's suffrage organizations Women's suffrage in the United States References Notes Bibliography Baker, Jean H. Sisters: The Lives of America's Suffragists. Hill and Wang, New York, 2005. Baker, Jean H. Votes for Women: The Struggle for Suffrage Revisited. Oxford University Press, 2002. Blackwell, Alice Stone. Lucy Stone: Pioneer of Woman's Rights. Charlottesville and London: University Press of Virginia, 1930. Buhle, Mari Jo; Buhle, Paul. The concise history of woman suffrage. University of Illinois, 1978. Fischer, Gayle V. Pantaloons and Power: A Nineteenth-century Dress Reform in the United States. Kent State University Press, 2001. Hays, Elinor Rice. Morning Star: A Biography of Lucy Stone 1818–1893. Harcourt, Brace & World, 1961. . Hinks, Peter P, John R. McKivigan, and R. Owen Williams. Encyclopedia of Antislavery and Abolition: Greenwood Milestones in African American History. Westport, Conn.: Greenwood Press, 2007. Lasser, Carol and Merrill, Marlene Deahl, editors. Friends and Sisters: Letters between Lucy Stone and Antoinette Brown Blackwell, 1846–93. University of Illinois Press, 1987. Kerr, Andrea Moore. Lucy Stone: Speaking Out for Equality. New Jersey: Rutgers University Press, 1992. Mani, Bonnie G. Women, Power, and Political Change. Lexington Books, 2007. McMillen, Sally Gregory. Lucy Stone: An Unapologetic Life. New York: Oxford University Press, 2015. McMillen, Sally Gregory. Seneca Falls and the origins of the women's rights movement. Oxford University Press, 2008. Mead, Rebecca J. How the Vote Was Won: Woman Suffrage in the Western United States, 1868–1914. New York University Press, 2004. Million, Joelle. Woman's Voice, Woman's Place: Lucy Stone and the Birth of the Women's Rights Movement. Praeger, 2003. Schenken, Suzanne O'Dea. From Suffrage to the Senate. Santa Barbara: ABC-CLIO, 1999. pp. 644–646. Sherr, Lynn. Failure is Impossible: Susan B. Anthony in Her Own Words, Times Books, 1995. Spender, Dale. (1982) Women of Ideas and what Men Have Done to Them. Ark Paperbacks, Routledge & Kegan Paul, London, 1983, pp. 347–357. Stanton, Elizabeth Cady; Anthony, Susan B.; Gage, Matilda Joslyn. History of Woman Suffrage, Volume I, covering 1848–1861. Copyright 1881. Stevens, Peter F. (May 26, 2005). A Voice From On High. Dorchester Reporter. Wheeler, Leslie. "Lucy Stone: Radical beginnings (1818–1893)" in Spender, Dale (ed.) Feminist theorists: Three centuries of key women thinkers, Pantheon 1983, pp. 124–136. External links Lucy Stone, History of American Women. 2020 The Liberator Files, Items concerning Lucy Stone from Horace Seldon's collection and summary of research of William Lloyd Garrison's The Liberator'' original copies at the Boston Public Library, Boston, Massachusetts. Lucy Stone photo from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Lucy Stone letter from the Special Collections and University Archives Department at the University of North Carolina at Greensboro Papers in the Woman's Rights Collection, 1846–1943. Schlesinger Library, Radcliffe Institute, Harvard University. Papers, 1832–1981. Schlesinger Library, Radcliffe Institute, Harvard University. Michals, Debra "Lucy Stone". National Women's History Museum. 2017. 1818 births 1893 deaths Abolitionists from Boston American feminists American suffragists American tax resisters American women's rights activists Blackwell family Deaths from stomach cancer Feminism and history History of women's rights in the United States Lecturers Mount Holyoke College alumni Oberlin College alumni People from Gardner, Massachusetts Deaths from cancer in Massachusetts American libertarians People from West Brookfield, Massachusetts People from Orange, New Jersey Proponents of Christian feminism Women civil rights activists	true	[ "Sonja Herholdt (born 1 December 1952) is a South African singer-songwriter and Afrikaner actress.\n\nPersonal life\nHerholdt was born in the small Gauteng mining village of Nigel and at the age of three made her first singing performance at the local community recreation hall, singing the Afrikaans lullaby Slaap, my Kindjie.\n\nShe attended the Afrikaans-medium Tini Vorster Primary and Hoërskool John Vorster where she became Head Girl in both and followed her theatrical pursuits.\n\nShe later obtained a diploma cum laude in Teaching after three years at the Johannesburg (Goudstad) College of Education. She gave up teaching to pursue music after meeting her future husband, FC Hamman. The couple married in 1976 and started a family, their youngest son later developed an extreme hearing impairment in 1993. Herholdt subsequently decided to start a school for hearing and linguistically impaired Afrikaans children, this was housed in the pre-primary section of Bryanston Primary School. This resulted in Herholdt returning to teach for a period of time.\n\nIn 1996, Herholdt was involved in a serious car accident. She and her husband subsequently divorced after 21 years of marriage.\n\nIn collaboration with Carel Cronjé, she released her autobiography in 2007 Sonja: Meisie van Nigel. Later that year she was injured in a robbery on the way home from Cronjé's Johannesburg home.\n\nCareer\nHer breakthrough came when she did a spot on Gwynneth Ashley Robin's show and was soon asked to record Ek Verlang Na Jou. The single went gold in South Africa, selling over 25 000 copies.\n\nHer subsequent albums and singles earned her similar critical and commercial success. She went on to win a total of eight Sarie awards. In the 1970s and 1980s, she was frequently the best-selling female artist in South Africa.\n\nIn 1979, she finally fulfilled her ambition to act by starring in Sing vir die Harlekyn, and winning a Rapport Oscar-Award as Best Female Newcomer.\n\nShe later enjoyed music success in Europe, she holds the distinction of being the first ever South African singer to be invited to perform in the Netherlands on their local Television. She recorded her song Oberammergau in Dutch. She also performed in Belgium, pushing Oberammergau into fifth place in the Belgian charts.\n\nIn 1989, she performed at the Religious Broadcasting Corporation in Washington, coinciding with the release of her gospel album, The Warrior is a Child.\n\nIn 1991, she received an award from the Afrikaans Chamber of Commerce for her services to Afrikaans music.\n\nIn 1995, she signed an album contract with BMG Records, enjoying success with the title track of her new BMG compilation, Skipskop. Her 1998 album Ritsel in die Rietbos did not meet critical and commercial expectations. But she rebounded with the critically acclaimed 2000 album, Reconstructing Alice.\n\nIn 2002 she developed her own record company, Son Music and released Sonjare, a nostalgic retrospective of her original hits.\n\nDiscography\nHerholdt has recorded several albums and singles since the 1970s;\n\nAlbums\nSonja (1976)\nSonja Herholdt (1977)\nOn stage/In die kalklig (1978)\nWaterblommetjies (1978)\n'n Lied vir Kersfees (1979)\nHarlekyn (Gold) (1979)\nGrootste Treffers (1980)\nWaarom Daarom (1981)\nReflections (1982)\nLiefdeslig (1984)\nLofsang – Sonja Herholdt en Jan de Wet (1985)\nDis net vir jou (1987)\nSonja Herholdt sing die Jeugsangbundel (1987)\nSonja Herholdt sing die Jeugsangbundel 2 (1988)\nTuiskoms (1988)\nDie Klokkespel 'Vrede (1989)\nThe Warrior is a Child (1989)\n'n Ster Vanaand (1994)\nTuiskoms (1995)\nMore sal die son weer skyn (1996)\nRitsel in die Rietbos (1998)\nReconstructing Alice (2000)\nSonjare\n20 Gunsteling treffers\nDis Kersfees\nSonja Herholdt Skipskop\nDie mense wat ek liefhet*Gunsteling treffers (1992)\nSê die engele moet kyk na my (1994)\nDie verhale van vrouwees\nShe\nShe The Princess\nLiefling die movie\nPêrels\n\nAwards\n\nReferences\n\nExternal links\n Official website\nSonja Herholdt at Who's Who Southern Africa\n\n1952 births\nLiving people\nPeople from Nigel, Gauteng\nAfrikaner people\nAfrikaans-language singers\n20th-century South African women singers\nSouth African actresses\nSouth African people of German descent", "\"The Lazy Spinner\" or \"The Lazy Spinning Woman\" is a German fairy tale collected by the Brothers Grimm, tale number 128. It is Aarne-Thompson type 1405.\n\nSynopsis\n\nA lazy woman did not like to spin and when she did, did not wind onto a reel, but left it on the bobbin. Her husband complained, and she said she needed a reel to do that, but when he went to cut one, she sneaked after and called out that whoever cut a reel would die. This put him off cutting it, but he still complained. She then made some yarn and said it must be boiled. Then she put some tow in the pot instead and set her husband to watch. After some time, he opened the pot, saw the tow, and thought he had ruined the yarn. From then on, the husband didn't dare complain.\n\nExternal links\n\nThe Lazy Spinner\nThe Lazy Spinning Woman\n\nLazy Spinner\nTextiles in folklore" ]
[ "Fall Out Boy", "Legacy" ]	C_b7acff4a3419445385934a0ceb22461d_0	What have they left as a legacy?	1	What has the band Fall Out Boy left as a legacy?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	true	[ "Weapons of Legacy is a supplemental rulebook for the 3.5 edition of the Dungeons & Dragons role-playing game published by Wizards of the Coast.\n\nContents\nIt introduces weapons that have histories and abilities matching their history, as well as rules governing such weapons in a campaign.\n\nLegacy Weapons\nLegacy weapons are unique weapons that have been forged or used by legendary beings and are themselves unique in regards to gameplay in that their magical abilities start out locked. Unlocking them requires some sort of sacrifice on the part of the wielder, in varying amounts, referred to as least legacy, lesser legacy, and greater legacy, in order from weakest to strongest.\n\nThe sacrifices required vary with each weapon, but they include some sort of permanent reduction in a player's abilities, i.e. loss of maximum hit points, permanent penalties to certain skills or abilities, etc. These penalties end when the wielder forswears the weapon.\n\nIf a wielder of a legacy weapon defeats the wielder of a different legacy weapon or artifact with it in combat, the winning legacy weapon inherits an ability from the defeated foe's legacy weapon/artifact.\n\nTable of Contents\n The Legacy: What are Legacy weapons, how do they affect your campaign, and why are they so unique?\n Heroes of Legacy: This includes feats necessary to include legacy items into a campaign, as well as new spells and lore about legacy weapons.\n Items of Legacy: This is a collection of sample legacy items, including their histories.\n Founding Legacies: This provides information on how to create a legacy weapon in the campaign world.\n Optional Rules: This discusses anything that was not covered in the previous four chapters and is not necessary to bring legacy weapons into a campaign. This chapter also includes NPCs with legacy weapons.\n\nPublication history\nWeapons of Legacy was written by Bruce R. Cordell, Kolja Raven Liquette, and Travis Stout, and was published in July 2005. Cover art was by Henry Higginbotham, with interior art by Steven Belledin, Dennis Crabapple, Jeff Easley, Wayne England, Fred Hooper, Doug Kovacs, David Martin, Jim Nelson, William O'Connor, Michael Phillippi, Wayne Reynolds, Dan Scott, and Franz Vohwinkel.\n\nBruce Cordell explains how the book is all about \"the stuff\" - items that player characters can obtain: \"Sure--this book is completely about the stuff. However, in developing an item of legacy's progression, an intimate knowledge of player character ability had to be kept in mind at all times. Because D&D characters are so concerned with their stuff, I'd say this book is as much about characters as any other player book, if not more so.\"\n\nReferences\n\nDungeons & Dragons books", "Tron: Legacy Reconfigured (stylized on the album artwork as Tron: Legacy R3C0NF1GUR3D) is a remix album of music by Daft Punk, released by Walt Disney Records on 5 April 2011. The album features remixes of selections of the Tron: Legacy film score by various contemporary electronic musicians. Tron: Legacy Reconfigured charted in several countries and peaked at number one in the Billboard Dance/Electronic chart. The album was released to mixed reviews.\n\nBackground\nTron: Legacy Reconfigured was released to coincide with the home video release of Tron: Legacy. The remix album was sold as either a standalone record or as part of box sets including the film, an EP of bonus tracks from the original score, a copy of the comic book miniseries tie-in Tron: Betrayal, and a poster of Daft Punk as they appear in the film. The \"ultimate\" box order included a five-disc set featuring Tron: The Original Classic as well as a collectible lithograph.\n\nDaft Punk's former manager Pedro Winter was displeased with Tron: Legacy Reconfigured and asserted that the duo was not involved with the remix album. He wrote in an open letter to Disney that, \"Of course some of it is nice, and you know there are some of my friends on this CD. But this is not enough! [...] I am sad to discover the A&R at Disney records is apparently buying most of his electronic music in airports stores...\"\n\nCritical reception\n\nReception to the remix album was generally mixed. On Metacritic, the album holds an aggregate score of 59/100, indicating \"mixed or average reviews\". Heather Phares of AllMusic believed that Tron: Legacy Reconfigured was made in response to the perceived lack of \"dancefloor movers\" in the original score and noted that, \"While the acts involved don't offer many surprises, they do what they do well\". A Consequence of Sound review also felt that the record was a more accessible version of the film soundtrack: \"Listening to the album straight through feels more like an eclectic concert than a compilation, and that’s meant as a compliment.\"\n\nJess Harvell of Pitchfork wrote that the album is successful \"about 50% of the time\" with the conclusion that, \"taken as a whole, what we're left with is a solidly middle-of-the-road project building off a solidly middle-of-the-road movie score. In a negative review, PopMatters believed that Tron: Legacy Reconfigured was a \"cash-in release\" based on the \"disappointing\" original soundtrack. \"The remixes that depart sharply from the originals, and sound more like their creators than like Daft Punk, often sound the best.\"\n\nThe Photek remix of \"End of Line\" was nominated for Best Remixed Recording, Non-Classical at the 54th Grammy Awards in 2011. The Glitch Mob's remix of \"Derezzed\" is used in various promos and trailers for the film's animated prequel, Tron: Uprising.\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\nExternal links\n\nAlbum entry at Walt Disney Records\nTron: Legacy Reconfigured at Metacritic\n\n2011 remix albums\nDaft Punk remix albums\nElectro house remix albums\nTron music\nWalt Disney Records remix albums" ]
[ "Fall Out Boy", "Legacy", "What have they left as a legacy?", "Sugar, We're Goin Down as possibly \"the most listened-to emo track of all time\"." ]	C_b7acff4a3419445385934a0ceb22461d_0	Was this created while they were still together?	2	Was the song "Sugar, We're Goin Down," created while the band Fall Out Boy were still together?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	In 2009,	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	true	[ "The Eastern precinct was one of three components of Somerset County, New Jersey, United States, that was created circa 1745 and existed until 1798. It was spelled in records as Estering from 1766-1777, and as Eastern from 1780-1797.\n\nThe Eastern precinct, together with the Northern precinct and Western precinct, were created as administrative divisions of Somerset County, while still under British colonial rule.\n\nOn February 21, 1798, the remaining portions of the Eastern precinct were taken to form Franklin Township as one of the first 104 townships created in New Jersey. With the formation of Franklin Township, Eastern precinct was dissolved.\n\nReferences\n\nFormer municipalities in New Jersey\nGeography of Somerset County, New Jersey", "The Western precinct was one of three components of Somerset County, New Jersey, United States, that was created circa 1745 and existed until 1798.\n\nThe Western precinct, together with the Eastern precinct and Northern precinct, were created as administrative divisions of Somerset County, while still under British colonial rule.\n\nPortions of the precinct were taken on September 12, 1771, to form Hillsborough Township.\n\nOn February 21, 1798, the remaining portions of the Western precinct were taken to form Montgomery Township as one of the first 104 townships created in New Jersey. With the formation of Montgomery Township, Western precinct was dissolved.\n\nReferences\n\nFormer municipalities in New Jersey\nGeography of Somerset County, New Jersey" ]
[ "Fall Out Boy", "Legacy", "What have they left as a legacy?", "Sugar, We're Goin Down as possibly \"the most listened-to emo track of all time\".", "Was this created while they were still together?", "In 2009," ]	C_b7acff4a3419445385934a0ceb22461d_0	Did they have any other hits that did well?	3	Aside from, "Sugar, We're Goin Down," did Fall Out Boy have any other hits that did well?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	Grand Theft Autumn	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	true	[ "This is Really Something is a greatest hits album by Australian rock and pop band The Sports, released in August 1997.\nThe album was re-released in August 2004 under the title The Definitive Collection.\n\nBackground and release\nThe Sports formed in 1976 and were signed to Mushroom Records in 1977. Their first Australian hit was \"Boys! (What Did the Detective Say?)\" in 1978 but they cracked the UK chart with \"Who Listens to the Radio\" in 1979. They broke up in 1981 after just four albums, three of which peaked within the top 20 in Australia.\n\nReception\n\nBernard Zuel of Sydney Morning Herald believes if The Sports had been English they would have been huge. saying \"\"Boys! (What Did the Detective Say?)\" and \"Who Listens to the Radio\" are classic new wave moments\" adding \"it's in the collection of could-have-been/should-have-been hits from 1979-81 that this compilation provides its worth. Great pop songs played well - rare enough at any time, a treasure all the time.\n\nJason Ankeny from AllMusic said \"The two-disc, 36-track complete anthology paints a definitive portrait of the Sports' career; split between singles and album tracks (compiled on the first disc) and rare and unreleased material (found on the second), the set is a solid introduction to the work of a sadly underrecognized group, a kind of Australian counterpart to the music of Elvis Costello, Graham Parker or Joe Jackson.\"\n\nAn Amazon reviewer said \"This definitive collection features 2CDs each containing the quintessential The Sports tunes including \"Who Listens to the Radio\", \"Don't Throw Stones\" and \"Strangers on a Train\".\n\nTrack listing\n\nReferences\n\nThe Sports albums\nMushroom Records albums\n1997 greatest hits albums\nCompilation albums by Australian artists", "Playlist: The Very Best of Sara Evans is the second compilation album from Sara Evans, after 2007's Greatest Hits, released as part of the Legacy Recordings Playlist series. The album features a selection of Evans' biggest hits, as well as album tracks and songs that have not previously been included on any of her albums.\n\nTrack listing\n\nChart performance\n\nReferences\n\nSara Evans albums\n2013 greatest hits albums\nEvans, Sara" ]
[ "Fall Out Boy", "Legacy", "What have they left as a legacy?", "Sugar, We're Goin Down as possibly \"the most listened-to emo track of all time\".", "Was this created while they were still together?", "In 2009,", "Did they have any other hits that did well?", "Grand Theft Autumn" ]	C_b7acff4a3419445385934a0ceb22461d_0	How well did it do?	4	How well did the song "Grand Theft Autumn" do for Fall Out Boy?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	won the Woodie Award for Streaming	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	true	[ "The Migraine Disability Assessment Test (MIDAS) is a test used by doctors to determine how severely migraines affect a patient's life. Patients are asked questions about the frequency and duration of their headaches, as well as how often these headaches limited their ability to participate in activities at work, at school, or at home.\n\nThe test was evaluated by the professional journal Neurology in 2001; it was found to be both reliable and valid.\n\nQuestions\nThe MIDAS contains the following questions:\n\n On how many days in the last 3 months did you miss work or school because of your headaches?\n How many days in the last 3 months was your productivity at work or school reduced by half or more because of your headaches? (Do not include days you counted in question 1 where you missed work or school.)\n On how many days in the last 3 months did you not do household work because of your headaches?\n How many days in the last three months was your productivity in household work reduced by half of more because of your headaches? (Do not include days you counted in question 3 where you did not do household work.)\n On how many days in the last 3 months did you miss family, social or leisure activities because of your headaches?\n\nThe patient's score consists of the total of these five questions. Additionally, there is a section for patients to share with their doctors:\n\nWhat your Physician will need to know about your headache:\n\nA. On how many days in the last 3 months did you have a headache?\n(If a headache lasted more than 1 day, count each day.)\t\n\nB. On a scale of 0 - 10, on average how painful were these headaches? \n(where 0 = no pain at all and 10 = pain as bad as it can be.)\n\nScoring\nOnce scored, the test gives the patient an idea of how debilitating his/her migraines are based on this scale:\n\n0 to 5, MIDAS Grade I, Little or no disability \n\n6 to 10, MIDAS Grade II, Mild disability\n\n11 to 20, MIDAS Grade III, Moderate disability\n\n21+, MIDAS Grade IV, Severe disability\n\nReferences\n\nExternal links\nMigraine Treatment\n\nMigraine", "Reflections is the third and last studio album by After 7 before the group split in 1997. The album reunites them with producer Babyface, who along with his then partner L.A. Reid, wrote and produced the majority of their self-titled debut. They also enlist the production talents of Babyface proteges Jon B and Keith Andes as well as newcomers The Boom Brothers. Reflections is the first album where the members of the group have credits as songwriters as well as executive producers. The music video for the first single \"'Til You Do Me Right\" was directed by photographer Randee St. Nicholas. Reflections peaked at #40 on the Billboard 200 and was certified gold by the RIAA on November 16, 1995.\n\nTrack listing\n\"'Til You Do Me Right\" (Babyface, Kevon Edmonds, Melvin Edmonds) (4:55)\n\"Cryin' for It\" (Babyface) (5:02)\n\"Save It Up\" (Jon B.) (4:09)\n\"Damn Thing Called Love\" (Jon B.) (5:30)\n\"How Did He Love You\" (Jon B.) (5:17)\n\"What U R 2 Me\" (Jon B.) (4:38)\n\"How Do You Tell the One\" (Babyface) (4:47)\n\"Sprung On It\" (Tony Boom, Chuck Boom) (4:06)\n\"How Could You Leave\" (Keith Andes, Ricky Jones) (5:01)\n\"Givin Up This Good Thing\" (Keith Andes, Ricky Jones) (4:49)\n\"I Like It Like That\" (Keith Andes, Melvin Edmonds, Kevon Edmonds) (4:24)\n\"Honey (Oh How I Need You)\" (Keith Andes, Ricky Jones, Warres Casey) (3:39)\n\nPersonnel\nKeyboards: Babyface, Jon B., Keith Andes, The Boom Brothers\nDrum Programming: Babyface, Jon B., Keith Andes, The Boom Brothers\nBass: Reggie Hamilton on \"'Til You Do Me Right\" and \"How Do You Tell The One\", Babyface on \"Cryin' for It\"\nMidi Programming: Randy Walker, Keith Andes, The Boom Brothers\nGuest vocals: Babyface on \"Honey (Oh How I Need You)\"\nBackground vocals: After 7, Jon B. on \"Save It Up\", Babyface on \"What U R 2 Me\", The Boom Brothers on \"Sprung On It\"\nSaxophone: Everette Harp on \"What U R 2 Me\"\n\nReferences\n\n1995 albums\nAfter 7 albums" ]
[ "Fall Out Boy", "Legacy", "What have they left as a legacy?", "Sugar, We're Goin Down as possibly \"the most listened-to emo track of all time\".", "Was this created while they were still together?", "In 2009,", "Did they have any other hits that did well?", "Grand Theft Autumn", "How well did it do?", "won the Woodie Award for Streaming" ]	C_b7acff4a3419445385934a0ceb22461d_0	What happened to them after they went on Hiatus?	5	What happened to Fall Out Boy after they went on Hiatus?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	CANNOTANSWER	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	false	[ "What Ever Happened to Baby Jane? may refer to:\n\nWhat Ever Happened to Baby Jane? (novel), a 1960 suspense novel by Henry Farrell\n What Ever Happened to Baby Jane (film), a 1962 American psychological thriller, based on the novel.\n What Ever Happened to..., a 1991 ABC television film, based on the novel", "This is a discography of Transplants, a punk rock hip hop supergroup. Formed in 1999, the project consists of Tim Armstrong (Rancid) on guitar and vocals, \"Skinhead Rob\" Aston (Expensive Taste) on vocals, Travis Barker (Blink-182, +44) on drums and Kevin \"Sweatshop\" Bivona on bass. As of 2017, the band has released three studio albums, one EP, one remix album, and five singles. Their latest release was October 13, 2017.\n\nBiography\nAfter two years of recording, the Transplants issued their self-titled debut album on Hellcat Records in October 2002. In the end, the album was recorded and mixed entirely in Armstrong's basement. The album was recorded with a number of special guest vocalists, which included Eric Ozenne (The Nerve Agents), Davey Havok (AFI), Son Doobie (Funk Doobiest), Danny Diablo (Crown of Thornz, AKA Lord Ezec), Lars Frederiksen (Rancid) and Brody Dalle (The Distillers, ex-wife of Tim). Dalle sang on the track \"Weigh On My Mind\", which Armstrong, at the time, described as \"their song.\" The Transplants embarked on a full-scale tour around the world to promote the album which earned the band critical and commercial success.\n\nAfter the release of the self-titled album, the Transplants went on hiatus in 2003, due to all members being involved in their own projects, including Rancid and Blink-182. However, in 2004 during an extensive Rancid hiatus, Armstrong decided to bring the Transplants back together. They resurfaced with their second album Haunted Cities, which was released in June 2005, just four months after Barker's former band Blink-182 announced their hiatus. The album's first and only single, \"Gangsters and Thugs\" was a hit and the band began touring on the 2005 Warped Tour. After the Warped Tour, the Transplants started to plan a large North American tour with Pennywise and wanted to release a second single. The band had even shot a video for the upcoming single \"What I Can't Describe.\" However, these plans were cut short due to Armstrong reportedly suffering from exhaustion.\n\nFollowing the end of the Haunted Cities tour, the Transplants announced their second hiatus in 2006. Reasons for another hiatus were essentially the same as they were in 2003. In 2010, the band reunited and began working on new material. The first recording to show up was \"Saturday Night\", which appeared on Barker's solo album Give the Drummer Some. Their third album, In a Warzone, was released on June 25, 2013.\n\nStudio albums\n\nRemix albums\n\nExtended plays\n\nSingles\n\nMusic videos\n\nOther appearances\n\nReferences\n\nPunk rock group discographies\nRap rock discographies\nDiscographies of American artists" ]
[ "Fall Out Boy", "Legacy", "What have they left as a legacy?", "Sugar, We're Goin Down as possibly \"the most listened-to emo track of all time\".", "Was this created while they were still together?", "In 2009,", "Did they have any other hits that did well?", "Grand Theft Autumn", "How well did it do?", "won the Woodie Award for Streaming", "What happened to them after they went on Hiatus?", "I don't know." ]	C_b7acff4a3419445385934a0ceb22461d_0	Was there a particular band they looked up to?	6	Was there a particular band that Fall Out Boy looked up to?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	Panic! at the Disco,	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	true	[ "Walk the Tightrope is the fourth studio album by Australian boy band and pop vocal group Human Nature released on 26 April 2004. After a three-year absence since their greatest hits album, Here & Now: The Best of Human Nature, the group returned with a more adult-contemporary sound, presaging their future move to nostalgia type covers.\n\nMaking of the album\n\nThe first single \"When You Say You Love Me\" was written by Darren Hayes, formerly of Savage Garden, and reached the top 10 in Australia in April 2004 (the song was also covered by Clay Aiken). The music video was shot at a petrol station in Granville, New South Wales, in the dead of night.\n\nThe album also features a cover version of \"To Be with You\", a 1992 hit by glam metal band Mr. Big.\n\nAndrew Tierney of the band says on the group's official website that performing an unrecorded Bee Gees song given to the band by Barry Gibb was a particular thrill. \"The Bee Gees were, without a doubt, the major inspiration for this record. We looked at them, and above their image and what they wore, the thing that kept them current was the fact they consistently came up with incredible songs. Great songs sustain a career. So with this record, we just wanted great songs.\"\n\nTrack listing\nComposer in brackets.\n\n\"Walk the Tightrope\"\n\"To Be With You\" (David Grahame, Eric Martin)\n\"She's Back\"\n\"When You Say You Love Me\" (Darren Hayes/Rick Nowels)\n\"Haunted\"\n\"Deja Vu\"\n\"She\"\n\"Woke Up in Love\" (a vocal interlude)\n\"Meant to Be\"\n\"Life Just Gets Better\"\n\"Raining in California\"\n\"Love Is Blind\" (Barry Gibb/Maurice Gibb/Robin Gibb)\n\"Guilty (One in a Million)\" (ft. Kelly K.A.E.)\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nReferences\n\nExternal links\n Human Nature web page\n\n2004 albums\nHuman Nature (band) albums", "Be Glad for the Song Has No Ending is the eighth album by the Scottish psychedelic folk group, the Incredible String Band, featuring Mike Heron, Robin Williamson, Licorice McKechnie and Rose Simpson. It is the soundtrack for a film of the same name, and was released on Island Records in March 1971, failing to chart in either the UK or US. It would be the first album from the band on the Island label, and the last to feature Joe Boyd as the producer.\n\nBackground\n\nRecording\nRecording of the album and soundtrack came during a transitional period for the band. Tracks were completed during Wee Tam and the Big Huge and I Looked Up sessions. As a result, the girlfriends Licorice McKechnie and Rose Simpson are more involved in some tracks in comparison to others. Even the compositions themselves reflect differentiation from the dream-like folk pieces to the less experimental contemporary ones that are more similar to Liquid Acrobat as Regards the Air. The whole B-side of the album is instrumentals that were the soundtrack of the documentary. They appear in the film to set mood to significant scenes. Three additional tracks were added from the Wee Tam sessions that did not make it to the album to have a completed LP. Joe Boyd stated the whole development was \"a kind of clear out the cupboard thing\".\n\nThe documentary \n\nThe documentary film was released in July 1970 and was based on the members of The Incredible String Band. The film is broken down into two parts. Part one featured stage performances and interviews of the band with the intent of learning about the group's thought process and way of living. Part two involves the group with friends dressing up to create a short, 20-minute drama play called The Pirate and The Crystal Ball.\n\nFilming began as early as a March 1968 Royal Festival Hall concert, and was budgeted by Ominibus for what they expected to be a straightforward documentary. Since there was limited camera angles, the concert was broken down into brief clips of pre-selected segments. After concert segments of material including \"Mercy I Cry City\" and \"A Very Cellular Song\", brief questioning is taken up by reporters. On one particular intense, regarding the meaning of their music, Heron responds, \"If I could describe my songs I wouldn't sing them\". Then, extensive interviews are conducted at the group's communal home in Glasgow along with clips of their daily lives. Finally, was the fable drama designed by the band, which was completed in one weekend. A basic-storyline included a pirate attempting to steal a crystal ball from three fates (Simpson, McKechnie, and Schofield). The fates enlist a hunter (Maistre) to set matters right, and the hunter captures the pirate to be judged by two Gods (Williamson, Heron). In the end, the pirate is forced into an endless reincarnation cycle. A collage of psychedelic images relating to the pirate's past begin and end with the sound of a baby's cry, concluding the fable.\n\nTrack listing\nSide one\n\nSide two\n\nPersonnel\n Robin Williamson - bass, claves, fiddle, finger cymbals, gimbri, guitar, keyboard, mandolin, piano, sarangui, shakers, violin, vocals\n Mike Heron - bass, chimes, glockenspiel, guitar, harp, horn, keyboard, organ, sitar, vocals\n Licorice McKechnie - backing vocals, keyboard, violin\n Rose Simpson - backing vocals, bass, percussion\n\nReferences\n\nThe Incredible String Band albums\nAlbums produced by Joe Boyd\n1970 soundtrack albums\nFilm soundtracks\nIsland Records soundtracks" ]
[ "Fall Out Boy", "Legacy", "What have they left as a legacy?", "Sugar, We're Goin Down as possibly \"the most listened-to emo track of all time\".", "Was this created while they were still together?", "In 2009,", "Did they have any other hits that did well?", "Grand Theft Autumn", "How well did it do?", "won the Woodie Award for Streaming", "What happened to them after they went on Hiatus?", "I don't know.", "Was there a particular band they looked up to?", "Panic! at the Disco," ]	C_b7acff4a3419445385934a0ceb22461d_0	What about them inspired the band?	7	What about Panic! as the Disco, inspired the band Fall Out Boy?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	song changed my life, I have a music career in a large part due to that song".	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	true	[ "\"\" (\"Destroy What Destroys You\") is a 1970 song by German proto-punk band and a subsequent political slogan. Written in 1969, it first appeared as a single the next year, followed by the band's 1971 debut album The slogan was subsequently used in the German autonomous, squatting, and contemporary anarchist outgrowths of the 1960s West German student movement.\n\nBackground \nThe song was originally written for the 1969 play by . It followed a scene in which the titular hero, the young worker Paul, sees conservative commentator on television and throws the TV set on the floor in anger.\n\nThe lyrics were written by Norbert Krause, a member of Hoffmanns Comic Teater, inspired by lyrics by Rio Reiser: \"Bombs are falling / Tanks are rolling / Soldiers dying / Men are crying / It is a good time ...\". These lyrics were inspired in turn by Bob Dylan's \"Subterranean Homesick Blues\". In 1970 the members of what would later become split off with the apprentice collective from ; the first piece by was also called .\n\nIn mid-1970, ARD broadcast a documentary entitled (\"Five fingers make a fist\") about the aims of the APO. It was accompanied by songs by the then still nameless band, including \"\" and \"\" (\"We're on strike\"), also from . Viewers called the station to ask how to buy the music. , Rio Rieser, , and , having named themselves \"\", recorded a single with these two songs. By Christmas 1970 it had already sold over 6000 copies.\n\nLove and Peace Festival \nThe band's first performance was on September 6, 1970, at the Fehmarn . By the time they took the stage (the stage on which Jimi Hendrix had just given his last concert), the organizers had already left, taking the proceeds of the box office with them. Reiser called on the audience to \"smash the organizers into the ground\". By the time they played \"\", their third song, the office was set on fire; two songs later, the stage was burning too. Many people believed that had set the stage on fire, which gave them tremendous credibility in the radical scene.\n\nLegacy \nIn 1971, the song appeared on the album . It became one of the best-known of 's songs. The title soon became a motto for the protests of the 1970s and was used on all kinds of fliers and graffiti. \n\nThe song \"\" (\"Fix what breaks you!\") (2007) from the album of the same name by Tommy Finke is a reference to \"\" and Rio Reiser, whose \"\" is also alluded to. \"Destroy What Destroys You\", by German thrash metal band Kreator, is also a reference to \"\". The song was released on the Hordes of Chaos album in 2008.\n\nReferences\n\nFurther reading \n\n \n Jean-Luc Godard, Cinema Historian\n West Germany and the Global Sixties: The Anti-Authoritarian Revolt, 1962–1978\n\n1970 songs\nAutonomism\nProto-punk\nPunk rock\nProtest songs\nSongs about police brutality\nSongs about revolutions\nAnarchist songs\nSongs against capitalism\nSongs about labor\nGerman songs\nGerman-language songs\nLeft-wing politics in Germany\nNew Left\nGerman rock songs", "\"The Premiere\" is the 10th and 11th episodes of the third season of the television series The Naked Brothers Band which premiered on April 11, 2009 on Nickelodeon. The episode is in the format of a rockumentary-mockumentary musical episode.\n\nThe premise of \"The Premiere\" is that The Naked Brothers Band Musical Mystery Movie premieres. t also features guest appearances by Victoria Justice from Zoey 101.\n\nPlot\nEverything is finally finished for the premiere of The Naked Brothers Band \"Musical Mystery Movie\". Now the band has to go through the press release and the red carpet! Nat, hearing about Rosalina wanting to be back in the band, has to decide, along with the rest of the band, whether to keep their new bass player, Kristina, or agree to let Rosalina back in the band. The director that Cooper replaced is still out to get revenge on the Naked Brothers band for firing him as a director.\n\nPlus, the publicist for the movie tells the band that each of them need to bring a date to the premiere with them. Alex thinks his hair can tell the future if you ask it a question, but in reality, can it? Who will Nat choose? Rosalina the love of his life? Or Kristina the girl who was inspired by his music? Plus, what about his date? So he picks all of them. He ends up with all his girl fans as dates along with Rosalina, Victoria Justice, and Kristina. He arrives at the premiere in an ice cream truck.\n\nOn the red carpet, Nat shouts out to Victoria Justice that he's available. Nat tells Rosalina he loves her leaving her confused and then he kisses Kristina after she accidentally spills ice cream on his tuxedo. The film ends with the band performing \"Just a Girl I Know\".\n\nCast\n\nReferences\n\nExternal links\n \n \n\n2009 American television episodes\nThe Naked Brothers Band (TV series) episodes" ]
[ "Fall Out Boy", "Legacy", "What have they left as a legacy?", "Sugar, We're Goin Down as possibly \"the most listened-to emo track of all time\".", "Was this created while they were still together?", "In 2009,", "Did they have any other hits that did well?", "Grand Theft Autumn", "How well did it do?", "won the Woodie Award for Streaming", "What happened to them after they went on Hiatus?", "I don't know.", "Was there a particular band they looked up to?", "Panic! at the Disco,", "What about them inspired the band?", "song changed my life, I have a music career in a large part due to that song\"." ]	C_b7acff4a3419445385934a0ceb22461d_0	Did any of them have kids?	8	Did any members of the band Fall Out Boy have kids?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	CANNOTANSWER	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	false	[ "\"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", "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" ]
[ "Fall Out Boy", "Legacy", "What have they left as a legacy?", "Sugar, We're Goin Down as possibly \"the most listened-to emo track of all time\".", "Was this created while they were still together?", "In 2009,", "Did they have any other hits that did well?", "Grand Theft Autumn", "How well did it do?", "won the Woodie Award for Streaming", "What happened to them after they went on Hiatus?", "I don't know.", "Was there a particular band they looked up to?", "Panic! at the Disco,", "What about them inspired the band?", "song changed my life, I have a music career in a large part due to that song\".", "Did any of them have kids?", "I don't know." ]	C_b7acff4a3419445385934a0ceb22461d_0	Was this the best time for them?	9	When was the best time for the band Fall Out Boy?	Fall Out Boy	Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER	were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards	Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s. With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects. The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa. The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium. History 2001–2002: Early years Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time. The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene. Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz. 2003–2004: Early success and Take This to Your Grave The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!" The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies". The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success. 2005–2006: From Under the Cork Tree The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down". The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents. From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award. 2007: Infinity on High In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK. After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave. Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States. Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For. Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten. 2008–2009: Folie à Deux The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled. As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies. To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed. Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band". 2010–2012: Hiatus and side projects By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool." During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting. Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better." 2013–2014: Reformation and Save Rock and Roll Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more". The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed". The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists. Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era. 2014–2016: American Beauty/American Psycho On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas. "Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014. On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane. Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour". On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro. 2017–present: Mania On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time. "The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall. On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania. In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled. Musical style and influences While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie. Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation". When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities". A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners. Legacy Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time." In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards. On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category. Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion Joe Trohman – lead guitar, backing vocals , keyboards Pete Wentz – bass guitar, unclean vocals, backing vocals Andy Hurley – drums, percussion , occasional backing vocals Former members''' Ben Rose – drums, percussion John Flamandan - rhythm guitar T.J. Kunasch – rhythm guitar Brandon Hamm – rhythm guitar Mike Pareskuwicz – drums, percussion Timeline Discography Take This to Your Grave (2003) From Under the Cork Tree (2005) Infinity on High (2007) Folie à Deux (2008) Save Rock and Roll (2013) American Beauty/American Psycho (2015) Mania (2018) Awards and nominations Alternative Press Music Awards \|- \| rowspan=5\|2014 \| rowspan=2\|Themselves \| Artist of the Year \| \|- \| Best Live Band \| \|- \| Pete Wentz \| Best Bassist \| \|- \| Save Rock and Roll\| Album of the Year \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| Song of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Music Video \| \|- \| Overcast Kids\| Most Dedicated Fans \| \|- \| rowspan=2\|2016 \| Patrick Stump \| Best Vocalist \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Artist of the Year \| \|- \| 2017 \| International Dance Music Awards \|- \| 2008 \| "Thnks fr th Mmrs" \| Best Alternative/Rock Dance Track \| Kerrang! Awards \|- \| rowspan=4\|2006 \| Themselves \| Best Band on the Planet \| \|- \| From Under the Cork Tree\| Best Album \| \|- \| rowspan=2\|"Sugar, We're Goin Down" \| Best Single \| \|- \| rowspan=2\|Best Video \| \|- \| rowspan=3\|2007 \| "This Ain't a Scene, It's an Arms Race" \| \|- \| Infinity on High\| Best Album \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| rowspan=4\|2013 \| \|- \| Fall Out Boy at London Camden Underworld\| Best Event \| \|- \| "My Songs Know What You Did in the Dark (Light Em Up)" \| rowspan=2\|Best Single \| \|- \| "The Phoenix" \| \|- \| rowspan=3\|2014 \| Themselves \| Best International Band \| \|- \| Save Rock and Roll Tour\| Best Event \| \|- \| Pete Wentz \| Tweeter of the Year \| \|- \| rowspan=2\|2015 \| "Centuries" \| Best Single \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Best International Band \| \|- \| 2016 \| Teen Choice Awards \|- \| rowspan=3\|2006 \| Themselves \| Choice Music: Rock Group \| \|- \| rowspan=2\|"Dance, Dance \| Choice Music: Single \| \|- \| rowspan=2\|Choice Music: Rock Song \| \|- \| rowspan=2\|2007 \| "Thnks fr th Mmrs" \| \|- \| rowspan=2\|Themselves \| rowspan=2\|Choice Music: Rock Group \| \|- \| rowspan=2\|2008 \| \|- \| Pete Wentz \| Choice Red Carpet Fashion Icon: Male \| \|- \| rowspan=4\|2015 \| Themselves \| Choice Music Group: Male \| \|- \| "Centuries" \| Choice Music Single: Group \| \|- \| "Uma Thurman" \| Choice Music: Rock Song \| \|- \| The Boys of Zummer Tour (with Wiz Khalifa) \| Choice Summer Tour \| \|- \| 2016 \| Themselves \| Choice Music: Group \| Other Awards \|- \|\| 2004 \|\| "Grand Theft Autumn/Where Is Your Boy" \|\| MtvU Woodie Award – Streaming Artist \|\| rowspan="4" \|- \|\| 2005 \|\| "Sugar, We're Goin Down" \|\| MTV Video Music Award – MTV2 Award \|- \|rowspan="3"\| 2006 \|\| rowspan=2\|"Dance, Dance" \|\| MuchMusic Video Award – People's Choice: Favorite International Group \|- \|\| MTV Video Music Award – Viewer's Choice \|- \|\| Fall Out Boy \|\| Grammy Award for Best New Artist \|\| \|- \|rowspan=4\|2007 \|\| rowspan="2"\| "Thnks fr th Mmrs" \|\| Nickelodeon's Australian Kids' Choice Awards – Fave Song \|\| rowspan="3" \|- \|\| Nickelodeon's Kids' Choice Award – Single \|- \|rowspan=2\|Fall Out Boy \|\| MTV Video Music Award – Best Group \|- \|\| Nickelodeon's Kids Choice Award – Best Band \|\| \|- \|rowspan="5"\| 2008 \|\| "The Take Over, the Breaks Over" \|\| MuchMusic Video Award – People's Choice: Favorite International Video \|\| rowspan="4" \|- \|rowspan="3"\| Fall Out Boy \|\| TMF Award – Best Live International \|- \|\| TMF Award – Best Rock International \|- \|\| TMF Award – Best Alternative International \|- \|\| "Beat It" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| 2009 \|\| "I Don't Care" \|\| NRJ Music Award – Best International Band \|- \|rowspan=2\|2013 \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| MTV Video Music Award for Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| MTV Europe Music Awards – Best Alternative \|- \| rowspan="10"\| 2014 \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Alternative Band \|\| \|- \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|\| rowspan="2" \|- \|\| Save Rock and Roll \|\| Billboard Music Awards – Top Rock Album \|- \|\| Fall Out Boy & The Band Perry \|\| CMT Music Awards – CMT Performance of the Year \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Alternative Act \|\| \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Group \|\| rowspan="7" \|- \|\| Fall Out Boy \|\| World Music Awards – World's Best Live Act \|- \|\| Save Rock and Roll \|\| World Music Awards – World's Best Album \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Song \|- \|\| "My Songs Know What You Did in the Dark (Light Em Up)" \|\| World Music Awards – World's Best Music Video \|- \| rowspan="5"\| 2015 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="1"\|"Centuries" \|\| Billboard Music Awards – Top Rock Song \|- \|\| "Uma Thurman" \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="2" \|- \|\| Fall Out Boy \|\| American Music Awards – Favorite Alternative Band \|- \|\| Fall Out Boy \|\| People's Choice Awards – Favorite Group \|\| rowspan="5" \|- \| rowspan="5"\| 2016 \|\| Fall Out Boy \|\| Billboard Music Awards – Top Rock Artist \|- \|rowspan="2"\| "Uma Thurman" \|\| Billboard Music Awards – Top Rock Song \|- \|\| Radio Disney Music Awards – Best Song To Dance To \|- \|rowspan="3"\| Fall Out Boy \|\| Radio Disney Music Awards – Best Music Group \|- \|\| MTV Video Music Award – Best Rock Video \|\| rowspan="4" \|- \| 2018 \|\| MTV Europe Music Award – Best Alternative \|- \| 2019 \|\| Mania'' \|\| Grammy Award for Best Rock Album \|- \| 2020 \|\| "Dear Future Self (Hands Up)" \|\| MTV Video Music Award – Best Rock Video See also Notes References Footnotes Bibliography Cover of the issue. External links Official website Patrick Stump official website 2001 establishments in Illinois Emo musical groups from Illinois American pop rock music groups Crush Management artists Decaydance Records artists Fueled by Ramen artists Kerrang! Awards winners Musical groups disestablished in 2009 Musical groups established in 2001 Musical groups from Chicago Musical groups from Wilmette, Illinois Musical groups reestablished in 2013 Musical quartets Pop punk groups from Illinois	true	[ "This was the 19th edition of the International Indian Film Academy Awards. This edition was held in Thailand on 22-24 June 2018. This was for the second time this event was held in Thailand after 2008. The show was hosted by Karan Johar and Ritesh Deshmukh. The awards were given for the Bollywood films in 2017. The award for Best Actor was won by Irrfan Khan for Hindi Medium and award for Best Actress was won by Sridevi for Mom posthumously. Tumhari Sulu was announced as the Best Film\n\nWinners and Nominees\n\nFilm Awards\n\nMusic Awards\n\nTechnical Awards\n\nSpecial Awards\n\nReferences\n\nExternal links\n \n\nIIfa Awards", "The MTV Video Music Award for Best Dance Video was first awarded in 1989, and it was one of the original four genre categories that were added to the MTV Video Music Awards that year. With a revamp of the awards in 2007, the category was cut out along with several others, yet it returned for the 2008 awards, where it was given a new name: Best Dancing in a Video. In 2009 the award for Best Dancing was again eliminated from the VMAs, but it was revived again in 2010 as Best Dance Music Video. The following year, though, the award was once again absent from the category list. Once again, the award was revived in 2012, this time under the name of Best Electronic Dance Music Video, celebrating the rise in popularity of EDM throughout the year. It was again eliminated for the 2013 awards. On July 17, 2014, MTV brought the category back, this time renaming it the MTV Clubland Award for the 2014 Awards. The pattern of awarding the moonman every other year continued in 2016 where the award was renamed Best Electronic Video. Finally, in 2017 this award's name was changed to Best Dance, which it has kept until the present. It was again eliminated for the 2020 awards.\n\nThe Pussycat Dolls, Calvin Harris, and Zedd are the category's biggest winners, with each having won it twice. Madonna and Janet Jackson, on the other hand, are the two most nominated artists, each having been nominated six times for this category; followed by Jennifer Lopez and Calvin Harris, who have been nominated five times.\n\nRecipients\n\nReferences\n\nSee also \n MTV Europe Music Award for Best Electronic\n\nMTV Video Music Awards\nDance music awards\nAwards established in 1989" ]
[ "Manic Street Preachers", "Escape from History and Resistance Is Futile (2017-present)" ]	C_507d8770973243d98e83327d1a39e64b_1	What is Escape from History?	1	What is Manic Street Preachers, Escape from History and Resistance Is Futile?	Manic Street Preachers	In February 2017 the band revealed a teaser trailer for a new documentary entitled Escape from History, charting the band's journey from The Holy Bible, through to the disappearance of lyricist and guitarist Richey Edwards, to the huge success of Everything Must Go. The documentary aired on Sky Arts on 15 April. The band also stated that they would release a new album later in that year. The band released a special edition of their album Send Away the Tigers on 12 May. 2017 marks the 10th anniversary of the record and the Manics said that "this is a very important album" in their career. The special edition featured a remastered album as well as b-sides and rarities spread over two discs, plus a DVD which features the band's 2007 Glastonbury performance, rehearsal footage, an album track-by-track, and promo videos. On 17 November 2017, the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018. After much delay, the band wrote "The main themes of 'Resistance is Futile' are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration," the band say in a statement. "It's obsessively melodic - in many ways referencing both the naive energy of 'Generation Terrorists' and the orchestral sweep of 'Everything Must Go'. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work." It is the first album to be recorded at the "Door to The River" new studio. In January 2018, Manic Street Preachers signed a new publishing contract with Warner/Chappell Music, leaving their longtime home Sony/ATV Music Publishing. On the new album the Manics launched their first single "International Blue" as a download on 8 December 2017. The second single "Distant Colours" was released also as a download on 16 February 2018. About the first single the band said that there's was certain naive energy and widescreen melancholia on the song that is reflected through the whole album, comparing it to Motorcycle Emptiness. Furthermore the album focused on "(...)things that make your life feel a little bit better. Rather than my internalised misery, I tried to put a sense of optimism into the lyrics by writing about things that we find really inspiring." Said Wire, taking inspiration from David Bowie and seen as almost an escape and a wave of optimism, just like the previoous album was described. On the other hand "Distant Colours" was written by James Dean Bradfield, rather than Nicky Wire, and inspired by disenchantment and Nye Bevan's old Labour. He said: "Musically, the verse is downcast and melancholic and the chorus is an explosion of disillusionment and tears." The third single "Dylan & Caitlin" was released as a download on 9 March 2018. CANNOTANSWER	the band revealed a teaser trailer for a new documentary entitled Escape from History, charting the band's journey	Manic Street Preachers, also known as the Manics, are a Welsh rock band formed in Blackwood in 1986. The band consists of cousins James Dean Bradfield (lead vocals, lead guitar) and Sean Moore (drums, percussion, soundscapes), plus Nicky Wire (bass guitar, lyrics). They form a key part of the 1990s Welsh Cool Cymru cultural movement. Following the release of their debut single "Suicide Alley", Manic Street Preachers were joined by Richey Edwards as co-lyricist and rhythm guitarist. The band's early albums were in a punk vein, eventually broadening to a greater alternative rock sound, whilst retaining a leftist political outlook. Their early combination of androgynous glam imagery and lyrics about "culture, alienation, boredom and despair" gained them a loyal following. Manic Street Preachers released their debut album, Generation Terrorists, in February 1992, followed by Gold Against The Soul in 1993 and The Holy Bible in 1994. Edwards disappeared in February 1995 and was legally presumed dead in 2008. The band achieved commercial success with the albums Everything Must Go (1996) and This Is My Truth Tell Me Yours (1998). The Manics have headlined festivals including Glastonbury, T in the Park, V Festival and Reading. They have won eleven NME Awards, eight Q Awards and four BRIT Awards. They were nominated for the Mercury Prize in 1996 and 1999, and have had one nomination for the MTV Europe Music Awards. They have reached number 1 in the UK charts four times: in 1998, with This Is My Truth Tell Me Yours and the single "If You Tolerate This Your Children Will Be Next", in 2000 with the single "The Masses Against the Classes", and in 2021 with The Ultra Vivid Lament. They have sold more than ten million albums worldwide. History Formation and early years (1986–1991) Manic Street Preachers formed in 1986 at Oakdale Comprehensive School, Blackwood, South Wales, which all the band members attended. Bradfield and the slightly older Moore are cousins and shared bunk beds in the Bradfield family home after Moore's parents divorced. During the band's early years, Bradfield, alongside the classically trained Moore, primarily wrote the music while Wire focused on the lyrics. The origin of the band's name remains unclear, but the most often-told story relates that Bradfield while busking one day in Cardiff, got into an altercation with someone (sometimes said to be a homeless man) who asked him "What are you, boyo, some kind of manic street preacher?" Original bassist Flicker (Miles Woodward) left the band in early 1988, reportedly because he believed that the band were moving away from their punk roots. The band continued as a three-piece, with Wire switching from guitar to bass, and in 1988 they released their first single, "Suicide Alley". Despite its recording quality, this punk ode to youthful escape provides an early insight into both Bradfield's guitar work and Moore's live drumming, the latter of which would be absent from the band's first LP. The Manics intended to restore revolution to rock and roll at a time when Britain was dominated by shoegaze and acid house. The NME gave "Suicide Alley" an enthusiastic review, citing a press release by Richey Edwards: "We are as far away from anything in the '80s as possible." After the release of "Suicide Alley," Edwards joined the band on rhythm guitar and contributed to lyrics alongside Wire. Edwards also designed record sleeves and artwork and drove the band to and from gigs. In 1990 the Manic Street Preachers signed a deal with label Damaged Goods Records for one EP. The four-track New Art Riot E.P. attracted as much media interest for its attacks on fellow musicians as for the actual music. With the help of Hall or Nothing management, the Manics signed to indie label Heavenly Records. The band recorded their first single for the label, entitled "Motown Junk". Their next single, "You Love Us", sampled Krzysztof Penderecki's "Threnody to the Victims of Hiroshima" as well as Iggy Pop. The video featured Nicky Wire in drag as Marilyn Monroe and contained visual references to the film Betty Blue and to Aleister Crowley. In an interview with then-NME journalist Steve Lamacq, Edwards carved the phrase "4REAL" into his arm with a razor blade to prove their sincerity. He was taken to hospital and received seventeen stitches. NME subsequently ran a full-page story on the incident, including a phone interview with Richey on his motivations for doing it. A recording of the editorial meeting discussing whether or not they could publish the image was included as a b-side on the band's 1992 charity single Theme from M.A.S.H. (Suicide Is Painless), featuring Lamacq, the then-editor of NME Danny Kelly and James Brown (who went on to edit Loaded and the British version of GQ). As a result of their controversial behaviour, the Manics quickly became favourites of the British music press, which helped them build a rabidly dedicated following. Columbia Records of Sony Music UK signed the band shortly afterwards and they began work on their debut album. Richey Edwards era: Generation Terrorists to The Holy Bible (1992–1995) The band's debut album, Generation Terrorists, was released in 1992 on the Columbia Records imprint. The liner notes contained a literary quote for each of the album's eighteen songs and the album lasted just over seventy minutes. The album's lyrics are politicised like those of the Clash and Public Enemy, with the album's songs regularly switching from a critical focus on global capitalism to more personal tales of despair and the struggles of youth. About the musical style of the album Pitchfork writer Joe Tangari wrote that Generation Terrorists "walked a weird line between agit-punk, cock rock, romantic melodicism and glam, and was so obviously patterned after the Clash's London Calling that it was actually kind of cute." Other tracks combine personal and political themes, implicating a connection between global capitalism and personal struggle; "Nat West-Barclays-Midlands-Lloyds" was written as a critique of overseas banking credit policies, but also concerned Richey Edwards' issues involving overdrafts and refused loans. Marc Burrows of Drowned in Sound considered the song to be an accurate prediction of "global financial meltdown" and its effects on everyday life. The single "Motorcycle Emptiness", meanwhile, criticises consumerism as a "shallow dream" that makes human life overtly commercialised. "Little Baby Nothing", a duet between Traci Lords and Bradfield, was described by Priya Elan of the NME as a "perfect snapshot of [female] innocence bodysnatched and twisted". The record contained six singles and sold 250,000 copies. The success of 1996's Everything Must Go at the 1997 Brit Awards ensured that sales of Generation Terrorists and subsequent albums Gold Against the Soul and The Holy Bible enjoyed a late surge; the band's debut sold an extra 110,000 copies. The band also made a cover version of the song "Suicide Is Painless" which peaked at number 7 in the UK charts, spending 3 weeks in the Top 10, and giving the band their first ever Top 10 hit single. The group's second album, Gold Against the Soul, displayed a more commercial, grungy sound which served to alienate both fans and the band itself. It was released to mixed reviews but still performed well, reaching number eight in the UK album chart. The album presents a different sound from their debut album, not only in terms of lyrics but in sound, the band privileged long guitar riffs, and the drums themselves feel more present and loud in the final mix of the album. This sound would be abandoned in their next album and as for the nature of the lyrics they also changed, with Edwards and Wire eschewing their political fire for introspective melancholy. According to AllMusic, the album "takes the hard rock inclinations of Generation Terrorists to an extreme." The band also stated that the choice to work with Dave Eringa again was important for this album: "We finished work in November and then just went straight into a demo studio and we came out about four weeks later with the album all finished. We were all happy with all the songs, we knew what they wanted to sound like, so we didn't want to use a mainstream producer because they've got their own sound and vision of what a record should be like. So we just phoned Dave up and said 'Look, come down, let's see how this works out', and everyone loved what we were doing, so we decided to stay with him." The band have described Gold Against the Soul as their least favourite album and the period surrounding the album as being the most unfocused of their career. The band's vocalist and guitarist James Dean Bradfield has said "All we wanted to do was go under the corporate wing. We thought we could ignore it but you do get affected." By early 1994, Edwards' difficulties became worse and began to affect the other band members as well as himself. He was admitted into The Priory in 1994 to overcome his problems and the band played a few festivals as a three-piece to pay for his treatment. The group's next album, The Holy Bible, was released in August to critical acclaim, but sold poorly. The album displayed yet another musical and aesthetic change for the band, largely featuring army/navy uniforms. Musically, The Holy Bible marks a shift from the modern rock sound of their first two albums, Generation Terrorists and Gold Against the Soul. In addition to the album's alternative rock sound the album incorporates various elements from other musical genres, such as hard rock, British punk, post-punk, new wave, industrial, art rock and gothic rock. Lyrically the album deals with subjects including prostitution, American consumerism, British imperialism, freedom of speech, the Holocaust, self-starvation, serial killers, the death penalty, political revolution, childhood, fascism and suicide. According to Q: "the tone of the album is by turns bleak, angry and resigned". There was also an element of autobiographic subjects, like in the song "4st 7lb" where the lyrics clearly tackle Richey's own experience and life. The song was named after 4 stones 7 pounds, or , because it is the weight below which death is said to be medically unavoidable for an anorexic sufferer. The title "The Holy Bible" was chosen by Edwards to reflect an idea, according to Bradfield, that "everything on there has to be perfection". Interviewed at the end of 1994, Edwards said: "The way religions choose to speak their truth to the public has always been to beat them down [...] I think that if a Holy Bible is true, it should be about the way the world is and that's what I think my lyrics are about. [The album] doesn't pretend things don't exist". Ben Patashnik of Drowned in Sound later said that the album in the time of its release "didn't sell very well, but its impact was felt keenly by anyone who'd ever come into contact with the Manics", and that it is now a "masterpiece [...] the sound of one man in a close-knit group of friends slowly disintegrating and using his own anguish to create some of the most brilliant art to be released on a large scale as music in years [...] It's not a suicide note; it's a warning." In support of the album the band appeared on Top of the Pops, performing its first single, "Faster", which reached No. 16. The performance was extremely controversial at the time, as the band were all dressed in army regalia. Bradfield wore a "terrorist-style" balaclava. At the time, the band was told by the BBC that they had received the most complaints ever. The album eventually has sold over 600,000 copies worldwide and is frequently listed among the greatest records ever recorded. In April and May 1994 the band first performed songs from The Holy Bible at concerts in Thailand and Portugal and at a benefit concert for the Anti-Nazi League at Brockwell Park, London. In June, they played the Glastonbury Festival. In July and August, without Richey Edwards, they played T in the Park in Scotland, the Alte Wartesaal in Cologne, the Parkpop Festival in The Hague and the Reading Festival. During September, October and December there was a headline tour of the UK and Ireland and two tours in mainland Europe with Suede and Therapy?. In December, three nights at the London Astoria ended with the band smashing up their equipment and the venue's lighting rig, causing £26,000 worth of damage. Edwards disappeared on 1 February 1995, on the day when he and James Dean Bradfield were due to fly to the US on a promotional tour. In the two weeks before his disappearance, Edwards withdrew £200 a day from his bank account, which totalled £2,800 by the day of the scheduled flight. He checked out of the Embassy Hotel in Bayswater Road, London, at seven in the morning, and then drove to his apartment in Cardiff, Wales. In the two weeks that followed he was apparently spotted in the Newport passport office, and the Newport bus station. On 7 February, a taxi driver from Newport supposedly picked up Edwards from the King's Hotel in Newport, and drove him around the valleys, including Blackwood (Edwards' home as a child). The passenger got off at the Severn View service station near Aust and paid the £68 fare in cash. On 14 February, Edwards' Vauxhall Cavalier received a parking ticket at the Severn View service station and on 17 February, the vehicle was reported as abandoned. Police discovered the battery to be flat, with evidence that the car had been lived in. Due to the service station's proximity to the Severn Bridge (which has been a renowned suicide location in the past) it was widely believed that he took his own life by jumping from the bridge. Many people who knew him, however, have said that he was never the type to contemplate suicide and he was quoted in 1994 as saying "In terms of the 'S' word, that does not enter my mind. And it never has done, in terms of an attempt. Because I am stronger than that. I might be a weak person, but I can take pain." Since then he has reportedly been spotted in a market in Goa, India, and on the islands of Fuerteventura and Lanzarote. There have been other alleged sightings of Edwards, especially in the years immediately following his disappearance. However, none of these has proved conclusive and none has been confirmed by investigators. He has not been seen since. Manic Street Preachers was put on hold for six months and disbanding the group was seriously considered, but with the blessing of Edwards' family, the other members continued. Edwards was legally "presumed dead" in 2008, to enable his parents to administer his estate. The band continue to set up a microphone for Edwards at every live performance. Everything Must Go to Lifeblood (1996–2006) The first album without Edwards, Everything Must Go, was released on 20 May 1996. The band had chosen to work with new producer Mike Hedges, mainly for his work on Siouxsie and the Banshees' single "Swimming Horses" that Bradfield rated highly. Hedges had already been approached before to produce The Holy Bible but he wasn't available at the time. Everything Must Go debuted on the UK Albums Chart at number 2, so far the album has gone Triple Platinum in the UK and is their most successful album to date, spending 103 weeks in the Top 100 with the album still in the Top 5 a year after its release. Containing five songs either written or co-written by Edwards the album was released to overwhelmingly positive reviews. Lyrically the themes were different from their previous effort, instead of introspective and autobiographical tracks such as "4st 7lb", Wire's predilection for historical and political themes dominates, like the No. 2 hit single "A Design for Life". The song was the first to be written and released by the band following the mysterious disappearance of figurehead Richey Edwards the previous year and was used as the opening track on Forever Delayed, the band's greatest hits album released in November 2002. James Dean Bradfield later recalled that the lyric had been a fusion of two sets of lyrics-"Design for Life" and "Pure Motive"-sent to him from Wales by bassist Nicky Wire, while he was living in Shepherd's Bush. The music was written "in about ten minutes" and Bradfield felt a sense of euphoria with the result. The song was credited with having "rescued the band" from the despair felt after the disappearance of Edwards, with Wire describing the song as "a bolt of light from a severely dark place". The album was shortlisted for the 1996 Mercury Prize award for best album and won the band two Brit Awards for Best British Band and Best British Album, as well as yielding the hit singles "Australia", "Everything Must Go" and "Kevin Carter". Subjects tackled on the album include the tragic life of the photographer Kevin Carter, on the track of the same name, Willem de Kooning and the maltreatment of animals in captivity on "Small Black Flowers That Grow in the Sky" (which is a quote from the film The Best Years of Our Lives). The latter track, with lyrics by Edwards, can also be interpreted as an exploration of his mental state before his disappearance; the line "Here chewing your tail is joy" for instance may be as much about Richey's self-harm as it is the tormented self-injury of zoo animals. It was their most direct and mature record to date and it established the Manics as superstars throughout the world. The album has sold over two million copies around the world, and it is still considered one of the finest releases of the decade, a classic album from the 1990s and frequently voted in polls in the category of best albums of all time by many publications. In 1997 the band performed a special gig at the Manchester Arena for more than 20,000 people. Bassist Nicky Wire said that was the moment he knew that the band had "made it". The recording was released as a VHS video on 29 September 1997 and has only been reissued on DVD in Japan. This Is My Truth Tell Me Yours (1998) was the first number 1 of the band in the UK, remaining at the top of the albums chart for 3 weeks, selling 136,000 copies in the first week and spending a total of 74 weeks in the Album Chart. The title is a quotation taken from a speech given by Aneurin Bevan, a Labour Party politician from Wales. Its working title was simply Manic Street Preachers. The cover photograph was taken on Black Rock Sands near Porthmadog, Wales. Around the world the album also peaked at number 1 in countries like Sweden and Ireland, and it sold over five million copies worldwide. With their fifth album, the group also had a No. 1 single, "If You Tolerate This Your Children Will Be Next". The song's theme is taken from the Spanish Civil War, and the idealism of Welsh volunteers who joined the left-wing International Brigades fighting for the Spanish Republic against Francisco Franco's military rebels. The song takes its name from a Republican poster of the time, displaying a photograph of a young child killed by the Nationalists under a sky of bombers with the stark warning "If you tolerate this, your children will be next" written at the bottom. The song is in the Guinness World Records as the number one single with the longest title without brackets. The album also included the hit singles "You Stole the Sun from My Heart", "Tsunami" and "The Everlasting". The Manics won Best British Band and Album awards at the BRIT Awards in 1999. This Is My Truth Tell Me Yours was also shortlisted for the 1999 Mercury Prize and the band received a further nomination in the category of Best UK & Ireland Act in the 1999 MTV Europe Music Awards, where the band performed live the single If You Tolerate This Your Children Will Be Next. In the NME Awards in 1999, the band won every single big prize, Best Band, Best Album, Best Live Act, Best Single and Best Video, nailing also the prize for Best Band in the World Today in the Q Awards 1998. After headlining Glastonbury Festival, T in the Park and V Festival, the band played the Leaving the 20th Century concert at the Millennium Stadium in Cardiff on 31 December 1999, the first concert to be held there, with 57,000 people attending and the final song being broadcast around the world by satellite as part of 2000 Today. The concert is available on VHS and DVD. Subtitled English lyrics, available as an extra, contain errors when compared to the official lyrics in the band's album booklets and in between some of the tracks there are interview clips where the band discusses their history and the songs. In 2000, they released the limited edition single "The Masses Against the Classes". Despite receiving little promotion, the single sold 76,000 copies in its first week and reached number one in the UK Singles Chart on 16 January 2000, beating "U Know What's Up" by Donell Jones to the top. The catalogue entry for the single was deleted (removed from wholesale supply) on the day of release, but the song nevertheless spent 9 weeks in the UK chart. In 2001, they became the first popular Western rock band to play in Cuba (at the Karl Marx Theater) and met with President Fidel Castro. Their concert and trip to Cuba was documented and then released as a DVD entitled Louder Than War. At this concert, they revealed many tracks from their upcoming sixth album, Know Your Enemy, which was released on 19 March. The left-wing political convictions of the Manic Street Preachers are apparent in many of the album's songs, such as "Baby Elián" as they comment on the strained relations between the United States and Cuba as seen in the Elián González affair, a hot topic around the album's release. The band also pays tribute to singer and civil rights activist Paul Robeson in the song "Let Robeson Sing", but the song "Ocean Spray", which was a single, was written entirely by James about his mother's battle with cancer. The first singles from the album, "So Why So Sad" and "Found That Soul", were both released on the same day. The final single "Let Robeson Sing" was released later. The Manics also headlined Reading and Leeds Festival. The greatest hits (plus remixes) album Forever Delayed was released in 2002, containing two new songs, "Door to the River" and the single "There by the Grace of God". Several songs were edited for length ("Motorcycle Emptiness," "You Love Us", "Australia," "Everything Must Go," "Little Baby Nothing," and "The Everlasting") so that more tracks could fit onto the CD (though not listed as edits in the liner notes). The Forever Delayed DVD was released in 2002 together with the greatest hits CD and photo book that bear the same name, and features all the promo music videos from the start of the band's career released before the DVD. Along with the promo videos, there is a selection of 14 remix videos, where the visual material is taken from clips of the other promo videos as well as backdrop visuals from the band's live concerts. The album peaked and debuted on the UK Albums Chart at #4. An album of B-sides, rarities, and cover versions was released in 2003 entitled Lipstick Traces (A Secret History of Manic Street Preachers), which contains the last song the band worked on with Edwards. The album received a far more positive reception from fans than the Forever Delayed greatest hits album, which was heavily criticised for favouring the band's more commercially successful singles. The only recurring criticism of Lipstick Traces was the exclusion of the fan favourite "Patrick Bateman", from the "La Tristesse Durera (Scream to a Sigh)" single. The band explained that it was excluded mainly because it was almost seven minutes long and simply would not fit on the album. The band's seventh studio album, Lifeblood, was released on 1 November 2004 and reached No. 13 on the UK album chart. Critical response to the album was mixed. The album was more introspective and more focused on the past, Wire talked about the ghosts that haunted this record and stated that the record was a retrospective: "The main themes are death and solitude and ghosts. Being haunted by history and being haunted by your own past. Sleep is beautiful for me. I hate dreaming because it ruins ten hours of bliss. I had a lot of bad dreams when Richey first disappeared. Not ugly dreams, but nagging things. Until we wrote 'Design for Life', it was six months of misery. Lifeblood doesn't seek to exorcise Edwards' ghost, though, just admits that there are no answers". Tony Visconti helped the band produce three songs on the album, which was followed by a UK arena tour in December 2004. "Empty Souls" and "The Love of Richard Nixon" were the two singles released from the album, both reaching No. 2 in the UK. A tenth-anniversary edition of The Holy Bible was released on 6 December 2004, which included a digitally remastered version of the original album, a rare U.S. mix (which the band themselves have admitted to preferring to the original UK mix) and a DVD of live performances and extras including a band interview. In April 2005, the band played several shows as the Past-Present-Future tour—announced as their last for at least two years. The band released an EP entitled God Save the Manics with only a limited number of copies available and given out to fans as they arrived at the venue. After all the copies were gone, the band made the EP available as a free download on their website. In September, the band contributed the new track "Leviathan" to the War Child charity album Help!: A Day in the Life. In 2006 the band received the prize for the Q Merit Award in the Q Awards 2006 and also the 10th-anniversary edition of Everything Must Go was released on 6 November. It included the original album, demos, B-sides, remixes, rehearsals and alternate takes of the album's songs, spread out over two CDs. An additional DVD, featuring music videos, live performances, TV appearances, a 45-minute documentary on the making of the album, and two films by Patrick Jones, completed the three-disc set. In the 10th-anniversary edition, the band itself claims that they're still fond of the record, and Wire goes further saying: "I think it's our best record, I am not afraid to say that." Send Away the Tigers to National Treasures (2007–2012) The band's eighth studio album, Send Away the Tigers, was released on 7 May 2007 on Columbia Records. It entered the official UK album charts at No. 2. Critical response to the album was largely positive, with some critics hailing the album as the band's best in a decade. A free download of a song entitled "Underdogs" from the album was made available through the group's website on 19 March 2007. The first official single released from Send Away the Tigers was "Your Love Alone Is Not Enough", which features Cardigans vocalist Nina Persson and according to the band they always had a duet in mind, seeing that the lyrics have a question/reply style to it. According to singer Bradfield, the title was the last line of a suicide note left by the friend of someone close to the group. The second single, "Autumnsong", and a third, "Indian Summer", were released in August. "Indian Summer" peaked at number 22, making it the first Manics single not to chart in the Top 20 since 1994's "She Is Suffering". The album sleeve features a quotation from Wyndham Lewis: "When a man is young, he is usually a revolutionary of some kind. So here I am, speaking of my revolution". The band ended up promoting the album with appearances in the summer festivals like Reading and Leeds Festivals and Glastonbury Festival. The band released a Christmas single, "The Ghosts of Christmas", in December. The track was available as a free download on their official website throughout December 2007 and January 2008. In February 2008, the band were presented with the God-Like Geniuses Award at the NME Awards ceremony. The ninth Manics album, Journal for Plague Lovers, was released on 18 May 2009 and features lyrics left behind by Edwards. Wire commented in an interview that "there was a sense of responsibility to do his words justice." The album was released to positive critical reviews and reached No. 3 on the UK Album Chart. However, the cover of the album generated some controversy, with the top four UK supermarkets stocking the CD in a plain slipcase, as the cover was deemed "inappropriate". Bradfield regarded the decision as "utterly bizarre", and has commented: "You can have lovely shiny buttocks and guns everywhere in the supermarket on covers of magazines and CDs, but you show a piece of art and people just freak out." Several tracks refer to Edwards' time in a couple of hospitals in 1994. Among them is "She Bathed Herself in a Bath of Bleach", of which James Dean Bradfield said to the NME: "There're some people he met when he was in one of the two places having treatment and I think he just digested other people's stories and experiences." The final track, "William's Last Words", has been compared to a suicide note, and although Nicky Wire rejects this suggestion, Bradfield observes, "you can draw some pretty obvious conclusions from the lyrics." Wire, who admitted finding the task of editing this song "pretty choking", eventually composed the music and sang lead vocals after Bradfield found himself unsuited to the task. Bradfield commented that Journal for Plague Lovers was an attempt to finally secure the legacy of their former member Richey Edwards and the result was that, during the recording process, it was as close to feeling his presence since his disappearance: "There was a sense of responsibility to do his words justice. That was part of the whole thing of letting enough time lapse. Once we actually got into the studio, it almost felt as if we were a full band; it [was] as close to him being in the room again as possible." Tracks from Journal for Plague Lovers have been remixed by a number of artists, and the Journal for Plague Lovers Remixes EP was released on 15 June 2009. Martin Noble of the band British Sea Power remixed the song "Me and Stephen Hawking"; Andrew Weatherall remixed "Peeled Apples", which he has described as "sounding like Charlie Watts playing with PiL"; The Horrors remixed "Doors Closing Slowly"; NYPC remixed the song "Marlon J.D" and the EP also features remixes by Patrick Wolf, Underworld, Four Tet, Errors, Adem, Optimo and Fuck Buttons. On 18 June 2009, the Manics officially opened the new Cardiff Central Library. Wire later said in an interview with The Guardian that the occasion had been a great honour for the band: On 1 June 2010, the band announced on their homepage that a new album called Postcards from a Young Man would be released on 20 September. James Dean Bradfield said that the album would be an unashamedly pop-orientated affair, following 2009's Journal for Plague Lovers. "We're going for big radio hits on this one", he told NME. "It isn't a follow-up to Journal for Plague Lovers. It's one last shot at mass communication." On 26 July, the first single from the new album, "(It's Not War) Just the End of Love", was played on the breakfast shows of BBC Radio 2, BBC 6Music, XFm and Absolute Radio. It was released on 13 September. The title had previously been suggested as a working title for the album by Nicky Wire. Three collaborations were also confirmed on the band's website later that day: Duff McKagan would appear on "A Billion Balconies Facing the Sun", Ian McCulloch will add guest vocals to "Some Kind of Nothingness" and John Cale will feature on "Auto-Intoxication". Of the album's lead single, "(It's Not War) Just the End of Love," Nicky Wire claimed: "I believe in the tactile nature of rock 'n' roll. There's a generation missing out on what music meant to us...You can only elaborate on the stuff that compels you to. But "It's Not War..." is kind of saying, "Alright, we're not 18, but even at 40 the rage is still there". Postcards from a Young Man was recorded with producer (and longtime Manics collaborator) Dave Eringa and was mixed in America by Chris Lord-Alge. It was released in a standard version, 2 CD deluxe version, and limited edition box set. The album cover art uses a black and white photograph of British actor Tim Roth. The album was supported by the Manics' most extensive tour of the UK to date, starting in Glasgow on 29 September 2010. British Sea Power were the support act for the band on the tour. Two further singles were released from the album—the McCulloch-featuring "Some Kind of Nothingness" and the title track "Postcards from a Young Man". "Some Kind of Nothingness" peaked at No. 44 in the UK making it the first-ever Manics single to not make the Top 40 since they signed to Sony in 1991. The band initially announced that their next album had the working title 70 Songs of Hatred and Failure and would sound very different from Postcards From A Young Man: "The next album will be pure indulgence. There's only so much melody stored in your body that you can physically get onto one record. It was just so utterly commercial and melodic." However, Nicky Wire contradicted this in 2011 while doing promotion for their greatest hits compilation National Treasures. When asked why the band was releasing the compilation Wire stated: "It's just the end of an era. Not the end of a band. We're gonna disappear for quite a long time." National Treasures – The Complete Singles was released on 31 October 2011, preceded by the release of the single "This Is the Day", a cover of the song by The The. On 17 December 2011, the group performed 'A Night of National Treasures' at O2 Arena in London to celebrate the band's 25 years to date, and enter into a period of hiatus where the eleventh album was written. The band performed all 38 singles, with around 20,000 people in attendance, as well as guest performers including Nina Persson from the Cardigans who sings with the band on the single "Your Love Alone Is Not Enough" and Gruff Rhys from Super Furry Animals who sang with the band that night on the track Let Robeson Sing. In April and May 2012, the band embarked on a European greatest hits tour. The compilation was voted by NME magazine as the best re issue of 2011, beating Nirvana's deluxe and super deluxe edition of Nevermind to the top spot. Despite the "complete singles" title, National Treasures does not contain every Manic Street Preachers single. Notable omissions are the band's very first single, "Suicide Alley" (1989), "Strip It Down" from the New Art Riot EP (1990), for which the band's first promotional video was made, and "You Love Us (Heavenly Version)" (1991). For singles originally released as double-A sides, only one song is included: therefore from "Love's Sweet Exile/Repeat" (1992) and "Faster/P.C.P." (1994), only the first of each pair are included. On 10 October the band announced via Facebook that a film-interview-documentary about their album Generation Terrorists would be screened at 2012's Festival as a Welsh exclusive. The film was shown at Chapter Arts Centre on Saturday 20 October, with all profits being donated to Young Promoters Network. The film was made available in the 20th-anniversary re-issue of Generation Terrorists, of which there were five editions: Single Disc edition: Original Album 2 Disc Deluxe edition: Includes Original Album + Demos with DVD of Culture, Alienation, Boredom, Despair (A making of the album) 4 Disc Limited edition (3,000 copies worldwide): Includes Original Album, Demos, B-Sides, Rarities, CABD DVD + Replica of Generation Terrorist Tour VIP Pass, 10" Collage by Richey Edwards, 10" Vinyl LP of a rare Manics Radio Performance and a 28-page book from Nicky Wire's archive. Also, if the Deluxe edition was purchased from the London record store "Rough Trade", then alongside the £20 purchase came a free ticket to see a showing of the CABD film, followed by an acoustic gig with James Dean Bradfield on 6 November. Rewind the Film to The Ultra Vivid Lament (2013–present) In May 2013, the band announced an Australasian tour for June and July, that would see them play their first-ever show in New Zealand. This tour coincided with the British and Irish Lions rugby tour to Australia and the Melbourne concert on the eve of the 2nd Test featured Lions' centre Jamie Roberts as a guest guitarist on "You Love Us". In May 2013 the Manics released information about their most recent recording sessions, saying that they had enough material for two albums; the first would be almost exclusively without electric guitars. The name of the first album and title track was revealed to be Rewind the Film on 8 July. In a statement, the band announced, "(If) this record has a relation in the Manics back catalogue, it's probably the sedate coming of age that was This Is My Truth Tell Me Yours." The band also stated via Twitter, "MSP were in the great Hansa Studios in January with Alex Silva (who recorded The Holy Bible with us). Berlin was inspirational... Sean been playing a french horn in the studio today—sounding wonderful." The lead single of the album, "Show Me the Wonder", was referred to on their Twitter account, the Manics posted, "I think 'show me the wonder' is the 1st ever manics single without JDBs electric guitar on-xx." The single was released on 9 September 2013 to a positive critical reception. The album itself was released on 16 September 2013 and reached No. 4 on the UK Album Chart. The second single of the album "Anthem for a Lost Cause" was released on 25 November 2013. The other album, Futurology, the band's twelfth studio album, was released on 7 July 2014 and it received immediate critical acclaim. The lead single from the album, "Walk Me to the Bridge", was released as a digital download on the day of the announcement, on 28 April. Futurology, according to the band, is an album full of ideas and one of their most optimistic yet, as Wire said to the NME magazine in an interview: "There's an overriding concept behind 'Futurology' which is to express all the inspiration we get from travel, music and art—all those ideas, do that in a positive way. 'Rewind The Film' was a harrowing 45-year-old looking in the mirror, lyrically. 'Futurology' was very much an album of ideas. It's one of our most optimistic records, the idea that any kind of art can transport you to a different universe." The album sold about 20,000 copies in its first week and reached No. 2 on the UK Albums Chart. The title track, "Futurology", was the second and final single released from the album on 22 September, the video debuted on YouTube on 10 August. The video was directed by the British Academy of Film and Television Arts winner Kieran Evans, who worked with the band on videos from their previous effort Rewind The Film. The band promoted the album with a tour around the UK and Europe from March to May 2014, they also made appearances in festivals like T in the Park in Scotland and Glastonbury Festival in the summer. Late in 2014, the band celebrated the release of their seminal album The Holy Bible with a special edition in December, commemorating the 20th anniversary of the album. This edition includes the vinyl edition of the full album, plus a three-CD set, the first CD with the full album remastered for the special release, the second with the US mix remastered and the third including a performance at the Astoria in 1994 and an acoustic session for Radio 4 Mastertapes in 2014. The special edition also contains a 40-page book full of rare photos and handwritten lyrics and notes by Richey and by the band. In the NME Awards 2015, the album won "Reissue of the Year". They also toured the album, playing it in full for the very first time. After the tour in the UK, the Manics took The Holy Bible tour to North America, in April 2015, they played in Washington DC, Toronto, New York, Boston, San Francisco, Los Angeles and Chicago. They also played in the Cardiff Castle on 5 June 2015 with 10,000 fans attending the gig, it was broadcast nationwide by BBC Two Wales. In August 2015 the Manic Street Preachers nailed the 2 top spots on the best NME covers of all time, as voted by the general public. James Dean Bradfield and Sean Moore in November 2015 did a charity hike in Patagonia, Nicky Wire did not participate in the event, the band said: "In November 2015 we will be walking in the footsteps of our Welsh ancestors when we will be part of the Velindre group of 50 people celebrating the 150th anniversary of Welsh settlers arriving in Patagonia with a challenging six-day trek." Also in November 2015, the Manic Street Preachers announced that they were going to celebrate the 20th anniversary of their 1996 album Everything Must Go, with their biggest headline show since 1999, in the Liberty Stadium, in Swansea on 28 May 2016, featuring special guests like Super Furry Animals. The album was performed in full, with Nicky Wire teasing "b-sides, rarities and curios, greatest hits and a few brand-new songs". Before the final show in Swansea the band played: Liverpool, Echo Arena (13 May), Birmingham, Genting Arena (14 May), London, Royal Albert Hall (16–17 May), Leeds, First Direct Arena (20 May) and Glasgow, the SSE Hydro (21 May). In early 2016 the band announced the European tour of "Everything Must Go", they played across Europe, in Finland, Denmark, the Netherlands and Germany. Similar to what happened with "The Holy Bible" the Manics released on 20 May, a special anniversary edition for the album, which includes the full album remastered plus the B-sides, a heavyweight vinyl, the 1997 Nynex concert fully restored on DVD, a film about the making of the album, the official videos for the all singles and a 40-page booklet. It was also made available a standard edition with a double-CD featuring only the remastered album and the concert at the Nynex Arena. The band announced in March 2016 that they would be releasing a theme song for the Wales national team ahead of the UEFA Euro 2016 tournament in the summer, entitled "Together Stronger (C'mon Wales)", it was released on 20 May, featuring also a video with the band and the Welsh team, the Manics tweeted: "It's with great pride we can announce the Manics are providing the official Wales Euro 2016 song – 'Together Stronger (C'mon Wales)'". All profits from the song went to the Princes Gate Trust and Tenovus Cancer Care. On 8 July the band was at the Cardiff City Stadium to give a home welcome to the Wales football national team after they were knocked out of the UEFA Euro 2016 by Portugal in the semi-finals, the band played a few songs in the stadium including the official theme song "Together Stronger (C'mon Wales)". On the next night, 9 July, the Manics headlined a night at the Cornwall's Eden Project, and later the band managed to secure a new recording studio near Newport, Wales. The city's council ensured that only the band can use the studio, there would be an increase on-site parking and a series of soundproofing measures to ensure nearby properties aren't disturbed by noise. To end the summer, the Manics went on to headline another two festivals, Wasa Open Air in Finland in mid-August and in late August the Victorious Festival in Portsmouth. The band also received a nomination in the 25th British Academy Cymru Awards for the best live outside broadcast after their 2015 gig in the Cardiff Castle, celebrating the 20th anniversary of the "Holy Bible". In February 2017 the band revealed a teaser trailer for a documentary entitled Escape from History, charting the band's journey from The Holy Bible, through to the disappearance of lyricist and guitarist Richey Edwards, to the huge success of Everything Must Go. The documentary aired on Sky Arts on 15 April. The band also stated that they would release an album later in that year. The band released a special edition of their album Send Away the Tigers on 12 May. 2017 marks the 10th anniversary of the record and the Manics said that "this is a very important album" in their career. The special edition featured a remastered album as well as B-sides and rarities spread over two discs, plus a DVD which features the band's 2007 Glastonbury performance, rehearsal footage, an album track-by-track, and promo videos. On 17 November 2017, the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018. After much delay, the band wrote "The main themes of 'Resistance is Futile' are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration", the band say in a statement. "It's obsessively melodic—in many ways referencing both the naive energy of 'Generation Terrorists' and the orchestral sweep of 'Everything Must Go'. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work." It is the first album to be recorded at the "Door to the River" studio. In January 2018, Manic Street Preachers signed a publishing contract with Warner/Chappell Music, leaving their longtime home Sony/ATV Music Publishing. On the album, the Manics launched their first single "International Blue" as a download on 8 December 2017. The second single "Distant Colours" was released, also as a download, on 16 February 2018. About the first single the band said that there's was certain naive energy and widescreen melancholia on the song that is reflected through the whole album, comparing it to Motorcycle Emptiness. Furthermore, the album focused on "(...)things that make your life feel a little bit better. Rather than my internalised misery, I tried to put a sense of optimism into the lyrics by writing about things that we find really inspiring." Said Wire, taking inspiration from David Bowie and seen as almost an escape and a wave of optimism, just like the previous album was described. On the other hand, "Distant Colours" was written by James Dean Bradfield, rather than Nicky Wire, and inspired by disenchantment and Nye Bevan's old Labour. He said: "Musically, the verse is downcast and melancholic and the chorus is an explosion of disillusionment and tears." The third single "Dylan & Caitlin" was released as a download on 9 March 2018. The fourth single "Liverpool Revisited" is about a magical day in the city, Nicky added that: "It was on the Everything Must Go (anniversary) tour and I got up really early at sunrise to walk around Liverpool, polaroid camera in hand on a balmy day. It sounds clichéd I know, but Liverpool in the sun does take on a hypnotic quality, with the Mersey and the stone." The band also revealed that they were to support Guns N' Roses during their summer tour. The fifth and final single, "Hold Me Like a Heaven", was released as a download on 4 May 2018. Wire said that the song was inspired musically by David Bowie's Ashes to Ashes, something that the band wanted to write about, and Nicky thinks that this the closest that the band is going to get, sharing also that lyrics were informed by the work of Philip Larkin. The album sold around 24,000 copies in the first week, entering the UK Albums Chart at number 2, despite being number 1 during the week. It was the highest new entry on the chart, and on physical sales the album peaked at number 1, both on CD and vinyl. In October 2018, the band announced a twentieth-anniversary collector's edition re-release of This Is My Truth Tell Me Yours. It was made available on digital, CD, and vinyl, with the CD edition featuring bonus demos, live rehearsal recordings, remixes, and B-sides. The album was launched on 7 December 2018 and to promote it, the band went on tour in Spring and Summer 2019, performing the album in full alongside other content. In March 2020, the Manics announced a deluxe reissue of their Gold Against the Soul album for release on 12 June 2020. Bonus content included previously unreleased demos, B-sides from the era, remixes, and a live recording, while the CD was released alongside a book of unseen photographs from the era with handwritten annotations and lyrics from the band. The next day, the unnamed follow-up album to Resistance is Futile, their fourteenth overall, was confirmed to NME alongside Bradfield's second solo album. The group's album, including a track called "Orwellian", was described as "expansive" and is due for release in Summer 2021. On 14 May 2021, the Manics announced the title of their fourteenth studio album: The Ultra Vivid Lament. The first single from the album, "Orwellian", was released on the same day. "The Secret He Had Missed", the second single from the album, was released on 16 July 2021. The Ultra Vivid Lament was released on 10 September 2021 and received generally positive reviews from critics: on Metacritic, the album has a weighted average score of 78 out of 100 based on 12 reviews, indicating "generally favorable reviews". The album sold 27,000 copies in the first week, granting the band their second UK Number 1 album as they narrowly beat Steps to the number 1 spot. Solo work In late 2005, both Bradfield and Wire announced that they intended to release solo material before a new album by the band. A free download of Nicky Wire's debut solo offering I Killed the Zeitgeist was posted on the band's website for just one day, Christmas Day 2005, while "The Shining Path" was released exclusively on iTunes for download. Also, a promotional album sampler had been sent out to the press and certain other people which included "I Killed the Zeitgeist", "Goodbye Suicide", "Sehnsucht", and "Everything Fades". The album was officially released in September 2006. It charted at No. 130 in the UK. The sound of the album, which Nicky referred to as his "nihilistic anti-everything album", was inspired by, among others, Neu!, the Plastic Ono Band, Einstürzende Neubauten, the Modern Lovers, Richard Thompson and Lou Reed. Only one official single was released, "Break My Heart Slowly", which charted at No. 74. Nicky toured small intimate venues across the UK with his band the Secret Society. Bradfield's solo album, The Great Western, was released in July 2006, to positive reviews from critics. It reached No. 22 in the UK. The sound of the album was inspired by, among others, Jeff Beck, Badfinger, Simple Minds and McCarthy. Two singles were released: "That's No Way to Tell a Lie" (No. 18) in July, which was also the background music to the BBC's Match of the Day's 'Goal of the Month' competition, and then "An English Gentleman" (No. 31) in September. The latter is in remembrance of the first Manics manager Philip Hall, who died from cancer in 1993 and to whom The Holy Bible had been dedicated. The initial pressings of the red 7" single were made with black vinyl, some of which were sent out to distributors by mistake. James toured the album with a band that included Wayne Murray, who would subsequently play the second guitar for Manics live performances. James's solo gigs featured covers of the Clash songs "Clampdown" and "The Card Cheat", both from the album London Calling. In a later interview, when the band were collectively asked what they had learned from making a solo album, Sean Moore dryly quipped "Not to do one". In March 2020, Bradfield was confirmed to be working on a second album while the band took a short break, while Wire was also considering more solo content. That June, two tracks by Bradfield, "There'll Come a War" and "Seeking the Room With the Three Windows", were released digitally. The album title was announced as Even in Exile the next week alongside the launch of its first single, "The Boy From the Plantation", and the album was released on 14 August 2020. The album was generally well-received and peaked at no.6 in the UK Albums Chart Collaborations and covers The band released a split single in 1992 with the Fatima Mansions, a rock cover of "Suicide Is Painless", which became their first UK Top 10 hit. They have recorded many cover versions of songs by other artists, primarily as B-sides for their own singles. Bands and artists to whom the group have paid tribute in this way include the Clash, Guns N' Roses, Alice Cooper, Happy Mondays, McCarthy, Chuck Berry, Faces and Nirvana. The band's first musical appearance since Edwards' departure was recording a cover of "Raindrops Keep Fallin' on My Head" for The Help Album, a charity effort in 1995 in support of aid efforts in war-torn Bosnia and Herzegovina. The Lightning Seeds' song "Waiting for Today to Happen", from their fifth album, Dizzy Heights (1996), was written by Nicky Wire and Ian Broudie. That same year, James Dean Bradfield and Dave Eringa produced Northern Uproar's first single, "Rollercoaster/Rough Boys". The 808 State song "Lopez" (1997) features lyrics by Wire and vocals by Bradfield. It is featured on their greatest hits album, 808:88:98. Kylie Minogue's sixth album, Impossible Princess (1997), features two songs co-written and produced by the Manics: "Some Kind of Bliss" (Bradfield, Minogue and Sean Moore) and "I Don't Need Anyone" (Bradfield, Jones and Minogue) were produced by Bradfield and Dave Eringa. Bradfield provided backing vocals, bass guitar and production for the Massive Attack song "Inertia Creeps" (1998), which features on their successful third album, Mezzanine. Patrick Jones's album of poetry set to music, Commemoration and Amnesia (1999), features two songs with music written by Bradfield: the title track and "The Guerilla Tapestry". Bradfield plays the guitar on both songs. Furthermore, the track "Hiraeth" features a section called "Spoken Word", in which Nicky Wire talks about Welsh identity. In February 2006, the band contributed a cover version of "The Instrumental" to the album Still Unravished: A Tribute to the June Brides. In February 2008, the Manics covered Rihanna's hit pop song "Umbrella". Their version appeared on a CD titled NME Awards 2008 given away free with a special souvenir box-set issue of NME magazine, which went on sale 27 February. Additionally, the Manics' version of the song was made available on iTunes from 5 March 2008. Despite being chart-eligible (it reached number 47 in the UK), the release was not intended as an official single. Two further versions (the Acoustic and Grand Slam mixes) were later made available on iTunes and now comprise a three-track Umbrella EP. James Dean Bradfield and Nicky Wire contributed an original song, "The Girl from Tiger Bay", to Shirley Bassey's 2009 studio album, The Performance. Musical style and influences Manic Street Preachers' music has been variously described as alternative rock, Britpop, hard rock glam rock, pop rock, punk metal, and punk rock. The band have stated that the Clash were "probably our biggest influence of all". When they saw them on television, "we thought it was fantastic and got really excited. They were the catalyst for us". In addition, they have cited artists including Aerosmith, Alice in Chains, Electric Light Orchestra, Rory Gallagher, Gang of Four, Guns N' Roses, Joy Division, Magazine, PiL, the Red Hot Chili Peppers, Siouxsie and the Banshees, Skids, Bruce Springsteen, and Wire, as influential or inspirational to their music. Bradfield's guitar hero is guitarist John McGeoch: "He taught me, you can have that rock'n'roll swagger, but still build something into it that's really unsettling, and can cut like a razor blade". Alluding to the band's early relationship with Britpop, Cam Lindsay of Canadian music publication Exclaim! opined that "Britpop was rising, the Manics were offering the polar opposite: a bleak, uncompromising work that wanted nothing to do with the party". Band members Current members James Dean Bradfield – lead and backing vocals, lead guitar, piano, keyboards (1986–present), rhythm guitar (1988–1989, 1995–present) Nicky Wire – bass, piano, backing and lead vocals (1988–present), rhythm guitar (1986–1988) Sean Moore – drums, percussion, trumpet, backing vocals (1986–present) Former members Miles "Flicker" Woodward – bass (1986–1988) Richey Edwards – rhythm guitar, backing vocals (1989–1995; disappeared in 1995; declared dead in 2008) Current touring musicians Wayne Murray (Thirteen:13) – rhythm guitar, backing vocals (2006–present) Nick Nasmyth – keyboards (1995–2005, 2013–present) Gavin Fitzjohn – rhythm guitar, backing vocals (2018–present) Former touring musicians Dave Eringa – keyboards (1993–1995) Greg Haver – rhythm guitar, percussion (2002–2003) Anna Celmore – piano (2002–2003) Guy Massey – rhythm guitar (2004–2005) Sean Read – piano, keyboards, percussion, saxophone (2006–2012) Richard Beak – bass (2018) Timeline Discography Generation Terrorists (1992) Gold Against the Soul (1993) The Holy Bible (1994) Everything Must Go (1996) This Is My Truth Tell Me Yours (1998) Know Your Enemy (2001) Lifeblood (2004) Send Away the Tigers (2007) Journal for Plague Lovers (2009) Postcards from a Young Man (2010) Rewind the Film (2013) Futurology (2014) Resistance Is Futile (2018) The Ultra Vivid Lament (2021) Awards and nominations Best Art Vinyl Awards The Best Art Vinyl Awards are yearly awards established in 2005 by Art Vinyl Ltd to celebrate the best album artwork of the past year. \|- \| 2007 \| Send Away the Tigers \| Best Vinyl Art \| Brit Awards The Brit Awards are the British Phonographic Industry's annual popular music awards. Manic Street Preachers has received four awards from eight nominations. \|- \|rowspan="4"\|1997 \|Manic Street Preachers \|British Group \| \|- \|Everything Must Go \|British Album of the Year \| \|- \|rowspan="2"\|"A Design for Life" \|British Single of the Year \| \|- \|British Video of the Year \| \|- \|rowspan="3"\|1999 \|Manic Street Preachers \|British Group \| \|- \|This Is My Truth Tell Me Yours \|British Album of the Year \| \|- \|"If You Tolerate This Your Children Will Be Next" \|British Single of the Year \| \|- \|2000 \|"You Stole the Sun from My Heart" \|British Single of the Year \| \|} GAFFA Awards \|- \|1998 \|"If You Tolerate This Your Children Will Be Next" \|Årets Udenlandske Hit \| \|} Hungarian Music Awards The Hungarian Music Awards have been given to artists in the field of Hungarian music since 1992. \|- \|2010 \|Journal for Plague Lovers \|rowspan="3"\|Alternative Music Album of the Year \| \|- \|2014 \|Rewind the Film \| \|- \|2015 \|Futurology \| \|} Mercury Prize The Mercury Prize is an annual music prize awarded for the best album released in the United Kingdom by a British or Irish act. \|- \|1996 \|Everything Must Go \|rowspan="2"\|Album of the Year \| \|- \|1999 \|This Is My Truth Tell Me Yours \| \|} NME Awards The NME Awards is an annual music award show in the United Kingdom. \|- \| 1996 \| rowspan=2\|Manic Street Preachers \| Best Band \| \|- \|rowspan="3"\|1997 \|Best Live Act \| \|- \|Everything Must Go \|Best LP \| \|- \|"A Design for Life" \|Best Track \| \|- \|1998 \|rowspan=2\|Manic Street Preachers \|rowspan=2\|Best Band \| \|- \|rowspan="4"\|1999 \| \|- \|This Is My Truth Tell Me Yours \|Best Album \| \|- \|rowspan="2"\|"If You Tolerate This Your Children Will Be Next" \|Best Track \| \|- \|Best Music Video \| \|- \|rowspan=4\|2000 \| "A Design for Life" \| Best Ever Single \| \|- \| The Holy Bible \| Best Album Ever \| \|- \| rowspan="4"\|Manic Street Preachers \| Best Band Ever \| \|- \| Best Band \| \|- \|2001 \|Best Rock Act \| \|- \|2008 \|Godlike Genius Award \| \|- \|2010 \|Journal for Plague Lovers \|Best Album Artwork \| \|- \|2012 \|National Treasures - The Complete Singles \|rowspan="2"\|Reissue of the Year \| \|- \|rowspan="2"\|2013 \|Generation Terrorists \| \|- \|Manic Street Preachers \|Best Fan Community \| \|- \|2015 \|The Holy Bible \|Reissue of the Year \| \|} Q Awards The Q Awards are the UK's annual music awards run by the music magazine Q. \|- \|1996 \|Everything Must Go \|Best Album \| \|- \|1998 \|rowspan="6"\|Manic Street Preachers \|rowspan="4"\|Best Act in the World Today \| \|- \|1999 \| \|- \|2000 \| \|- \|rowspan="2"\|2001 \| \|- \|Best Live Act \| \|- \|2006 \|Merit Award \| \|- \|rowspan="2"\|2007 \|"Your Love Alone Is Not Enough" \|Best Track \| \|- \|Send Away the Tigers \|Best Album \| \|- \|2011 \|Manic Street Preachers \|Greatest Act of the Last 25 Years \| \|- \|2012 \|Generation Terrorists \|Classic Album \| \|- \|2013 \|"Show Me the Wonder" \|Best Video \| \|- \|2014 \|Futurology \|Best Album \| \|- \|2017 \|Manic Street Preachers \|Inspiration Award \| \|} Žebřík Music Awards !Ref. \|- \| rowspan=3\|1998 \| Manic Street Preachers \| Best International Group \| \| rowspan=3\| \|- \|This Is My Truth Tell Me Yours \| Best International Album \| \|- \| "If You Tolerate This Your Children Will Be Next" \| Best International Song \| Viewers' Favourite Album of All Time (The Holy Bible) – Newsnight 15th Best Album of All Time (The Holy Bible) – Melody Maker 10th Best Album Since Creation of Magazine (The Holy Bible) – Q 18th Best Album of All Time (The Holy Bible) – Q 10th Greatest Album of All Time (The Holy Bible) – Kerrang! 11th Greatest Album of All Time (Everything Must Go) – Q 16th Best Album Since Creation of Magazine (Everything Must Go) – Q 22nd Best British Rock Album of All Time (Everything Must Go) – Kerrang! One of the Best Albums of All Time (Everything Must Go) – Absolute Radio One of The Writers' Best Albums (Everything Must Go) of 1996 – The Daily Telegraph Writers' Best Album (Everything Must Go) of 1996 – Melody Maker Readers' Band of 1996 (Runner-up) and Writers' Album of 1996 (Everything Must Go) – NME Writers' Best Live Band of 1996 – NME Brat Award Writers' Best Album of 1996 (Everything Must Go) – Vox Writers' Best Album of 1996 (Everything Must Go) – The Sunday Times Writers' Best Album of 1996 (Everything Must Go) – Sky Writers' Best Album of 1996 (Everything Must Go) and Readers' Best Album of 1996 (Everything Must Go) – Select Writers' Best Album of 1996 (Everything Must Go) – Music Week One of Writers' Top Ten Albums (Everything Must Go) of 1996 – Metal Hammer Writers' Album (Everything Must Go) of 1996 (Runner-up) – Kerrang! One of Writers' Top Five Albums (Everything Must Go) of 1996 – The Independent on Sunday Readers' Best Album (Everything Must Go) of 1996 – Hot Press Writers' Best Album (Everything Must Go) of 1996 – The Guardian Ivor Novello Award for Best Contemporary Song (A Design For Life), 1996 7th Best Band of All Time – 1999 NME Best Ever Category 7th Best Album of All Time (The Holy Bible) – 1999 NME Best Ever Category 8th Best Single of All Time (A Design For Life) – 1999 NME Best Ever Category Best Internacional Rock Group – Eska Music Awards, Poland, 2008 The MOJO Maverick Award 2009 Songwriting Prize at the Classic Rock Roll of Honour Awards, 2011 Ambassadors of Rock – Silver Clef Award 2012 Musician's Union Maestro (for James Dean Bradfield) at the Classic Rock Roll of Honour Awards, 2013 The Ivors Inspiration Award at the Ivor Novello Awards, 2015 References Sources External links 1986 establishments in Wales Cool Cymru Brit Award winners British pop rock music groups British glam rock groups Heavenly Recordings artists Ivor Novello Award winners Musical groups established in 1986 British musical trios Musical quartets NME Awards winners Political music groups Welsh alternative rock groups Welsh hard rock musical groups Welsh punk rock groups Welsh socialists Britpop groups Columbia Records artists	false	[ "Escape from Altassar is a 1982 board game published by Task Force Games.\n\nGameplay\nEscape from Alrassar is a science fiction game set on the planet Altassar, where the aggressive alien Spikus have established a penal colony to house some of the prisoners they have taken in their 300-year war with the Galacta Confederation.\n\nReception\nTony Watson reviewed Escape from Altassar in The Space Gamer No. 61. Watson commented that \"I can't recommend Escape from Altassar. Although it has some interesting chrome, there's nothing solid to hand it on. What begins as a nice premise degenerates into a turkey shoot. Task Force Games has done better in the past, and gamers have a right to expect something a bit more polished and refined.\"\n\nReferences\n\nBoard games introduced in 1982\nTask Force Games games", "In celestial mechanics, escape velocity or escape speed is the minimum speed needed for a free, non-propelled object to escape from the gravitational influence of a primary body, thus reaching an infinite distance from it. It is typically stated as an ideal speed, ignoring atmospheric friction. Although the term \"escape velocity\" is common, it is more accurately described as a speed than a velocity because it is independent of direction; the escape speed increases with the mass of the primary body and decreases with the distance from the primary body. The escape speed thus depends on how far the object has already traveled, and its calculation at a given distance takes into account the fact that without new acceleration it will slow down as it travels—due to the massive body's gravity—but it will never quite slow to a stop. \n\nA rocket, continuously accelerated by its exhaust, can escape without ever reaching escape speed, since it continues to add kinetic energy from its engines. It can achieve escape at any speed, given sufficient propellant to provide new acceleration to the rocket to counter gravity's deceleration and thus maintain its speed. \n\nMore generally, escape velocity is the speed at which the sum of an object's kinetic energy and its gravitational potential energy is equal to zero; an object which has achieved escape velocity is neither on the surface, nor in a closed orbit (of any radius). With escape velocity in a direction pointing away from the ground of a massive body, the object will move away from the body, slowing forever and approaching, but never reaching, zero speed. Once escape velocity is achieved, no further impulse need be applied for it to continue in its escape. In other words, if given escape velocity, the object will move away from the other body, continually slowing, and will asymptotically approach zero speed as the object's distance approaches infinity, never to come back. Speeds higher than escape velocity retain a positive speed at infinite distance. Note that the minimum escape velocity assumes that there is no friction (e.g., atmospheric drag), which would increase the required instantaneous velocity to escape the gravitational influence, and that there will be no future acceleration or extraneous deceleration (for example from thrust or from gravity of other bodies), which would change the required instantaneous velocity.\n\nEscape speed at a distance d from the center of a spherically symmetric primary body (such as a star or a planet) with mass M is given by the formula\n\nwhere G is the universal gravitational constant (). The escape speed is independent of the mass of the escaping object. For example, the escape speed from Earth's surface is about . \n\nWhen given an initial speed greater than the escape speed the object will asymptotically approach the hyperbolic excess speed satisfying the equation:\n\nIn these equations atmospheric friction (air drag) is not taken into account.\n\nOverview\n\nThe existence of escape velocity is a consequence of conservation of energy and an energy field of finite depth. For an object with a given total energy, which is moving subject to conservative forces (such as a static gravity field) it is only possible for the object to reach combinations of locations and speeds which have that total energy; and places which have a higher potential energy than this cannot be reached at all. By adding speed (kinetic energy) to the object it expands the possible locations that can be reached, until, with enough energy, they become infinite.\n\nFor a given gravitational potential energy at a given position, the escape velocity is the minimum speed an object without propulsion needs to be able to \"escape\" from the gravity (i.e. so that gravity will never manage to pull it back). Escape velocity is actually a speed (not a velocity) because it does not specify a direction: no matter what the direction of travel is, the object can escape the gravitational field (provided its path does not intersect the planet).\n\nAn elegant way to derive the formula for escape velocity is to use the principle of conservation of energy (for another way, based on work, see below). For the sake of simplicity, unless stated otherwise, we assume that an object will escape the gravitational field of a uniform spherical planet by moving away from it and that the only significant force acting on the moving object is the planet's gravity. Imagine that a spaceship of mass m is initially at a distance r from the center of mass of the planet, whose mass is M, and its initial speed is equal to its escape velocity, . At its final state, it will be an infinite distance away from the planet, and its speed will be negligibly small. Kinetic energy K and gravitational potential energy Ug are the only types of energy that we will deal with (we will ignore the drag of the atmosphere), so by the conservation of energy,\n\nWe can set Kfinal = 0 because final velocity is arbitrarily small, and Ugfinal = 0 because final distance is infinity, so\n\nwhere μ is the standard gravitational parameter.\n\nThe same result is obtained by a relativistic calculation, in which case the variable r represents the radial coordinate or reduced circumference of the Schwarzschild metric.\n\nDefined a little more formally, \"escape velocity\" is the initial speed required to go from an initial point in a gravitational potential field to infinity and end at infinity with a residual speed of zero, without any additional acceleration. All speeds and velocities are measured with respect to the field. Additionally, the escape velocity at a point in space is equal to the speed that an object would have if it started at rest from an infinite distance and was pulled by gravity to that point.\n\nIn common usage, the initial point is on the surface of a planet or moon. On the surface of the Earth, the escape velocity is about 11.2 km/s, which is approximately 33 times the speed of sound (Mach 33) and several times the muzzle velocity of a rifle bullet (up to 1.7 km/s). However, at 9,000 km altitude in \"space\", it is slightly less than 7.1 km/s. Note that this escape velocity is relative to a non-rotating frame of reference, not relative to the moving surface of the planet or moon (see below).\n\nThe escape velocity is independent of the mass of the escaping object. It does not matter if the mass is 1 kg or 1,000 kg; what differs is the amount of energy required. For an object of mass the energy required to escape the Earth's gravitational field is GMm / r, a function of the object's mass (where r is radius of the Earth, nominally 6,371 kilometres (3,959 mi), G is the gravitational constant, and M is the mass of the Earth, ). A related quantity is the specific orbital energy which is essentially the sum of the kinetic and potential energy divided by the mass. An object has reached escape velocity when the specific orbital energy is greater than or equal to zero.\n\nScenarios\n\nFrom the surface of a body\nAn alternative expression for the escape velocity particularly useful at the surface on the body is:\n\nwhere r is the distance between the center of the body and the point at which escape velocity is being calculated and g is the gravitational acceleration at that distance (i.e., the surface gravity).\n\nFor a body with a spherically-symmetric distribution of mass, the escape velocity from the surface is proportional to the radius assuming constant density, and proportional to the square root of the average density ρ.\n\nwhere \n\nNote that this escape velocity is relative to a non-rotating frame of reference, not relative to the moving surface of the planet or moon, as we now explain.\n\nFrom a rotating body\nThe escape velocity relative to the surface of a rotating body depends on direction in which the escaping body travels. For example, as the Earth's rotational velocity is 465 m/s at the equator, a rocket launched tangentially from the Earth's equator to the east requires an initial velocity of about 10.735 km/s relative to the moving surface at the point of launch to escape whereas a rocket launched tangentially from the Earth's equator to the west requires an initial velocity of about 11.665 km/s relative to that moving surface. The surface velocity decreases with the cosine of the geographic latitude, so space launch facilities are often located as close to the equator as feasible, e.g. the American Cape Canaveral (latitude 28°28′ N) and the French Guiana Space Centre (latitude 5°14′ N).\n\nPractical considerations\nIn most situations it is impractical to achieve escape velocity almost instantly, because of the acceleration implied, and also because if there is an atmosphere, the hypersonic speeds involved (on Earth a speed of 11.2 km/s, or 40,320 km/h) would cause most objects to burn up due to aerodynamic heating or be torn apart by atmospheric drag. For an actual escape orbit, a spacecraft will accelerate steadily out of the atmosphere until it reaches the escape velocity appropriate for its altitude (which will be less than on the surface). In many cases, the spacecraft may be first placed in a parking orbit (e.g. a low Earth orbit at 160–2,000 km) and then accelerated to the escape velocity at that altitude, which will be slightly lower (about 11.0 km/s at a low Earth orbit of 200 km). The required additional change in speed, however, is far less because the spacecraft already has a significant orbital speed (in low Earth orbit speed is approximately 7.8 km/s, or 28,080 km/h).\n\nFrom an orbiting body\nThe escape velocity at a given height is times the speed in a circular orbit at the same height, (compare this with the velocity equation in circular orbit). This corresponds to the fact that the potential energy with respect to infinity of an object in such an orbit is minus two times its kinetic energy, while to escape the sum of potential and kinetic energy needs to be at least zero. The velocity corresponding to the circular orbit is sometimes called the first cosmic velocity, whereas in this context the escape velocity is referred to as the second cosmic velocity.\n\nFor a body in an elliptical orbit wishing to accelerate to an escape orbit the required speed will vary, and will be greatest at periapsis when the body is closest to the central body. However, the orbital speed of the body will also be at its highest at this point, and the change in velocity required will be at its lowest, as explained by the Oberth effect.\n\nBarycentric escape velocity\nTechnically escape velocity can either be measured as a relative to the other, central body or relative to center of mass or barycenter of the system of bodies. Thus for systems of two bodies, the term escape velocity can be ambiguous, but it is usually intended to mean the barycentric escape velocity of the less massive body. In gravitational fields, escape velocity refers to the escape velocity of zero mass test particles relative to the barycenter of the masses generating the field. In most situations involving spacecraft the difference is negligible. For a mass equal to a Saturn V rocket, the escape velocity relative to the launch pad is 253.5 am/s (8 nanometers per year) faster than the escape velocity relative to the mutual center of mass.\n\nHeight of lower-velocity trajectories\nIgnoring all factors other than the gravitational force between the body and the object, an object projected vertically at speed from the surface of a spherical body with escape velocity and radius will attain a maximum height satisfying the equation\n\nwhich, solving for h results in\n\nwhere is the ratio of the original speed to the escape velocity \n\nUnlike escape velocity, the direction (vertically up) is important to achieve maximum height.\n\nTrajectory\nIf an object attains exactly escape velocity, but is not directed straight away from the planet, then it will follow a curved path or trajectory. Although this trajectory does not form a closed shape, it can be referred to as an orbit. Assuming that gravity is the only significant force in the system, this object's speed at any point in the trajectory will be equal to the escape velocity at that point due to the conservation of energy, its total energy must always be 0, which implies that it always has escape velocity; see the derivation above. The shape of the trajectory will be a parabola whose focus is located at the center of mass of the planet. An actual escape requires a course with a trajectory that does not intersect with the planet, or its atmosphere, since this would cause the object to crash. When moving away from the source, this path is called an escape orbit. Escape orbits are known as C3 = 0 orbits. C3 is the characteristic energy, = −GM/2a, where a is the semi-major axis, which is infinite for parabolic trajectories.\n\nIf the body has a velocity greater than escape velocity then its path will form a hyperbolic trajectory and it will have an excess hyperbolic velocity, equivalent to the extra energy the body has. A relatively small extra delta-v above that needed to accelerate to the escape speed can result in a relatively large speed at infinity. Some orbital manoeuvres make use of this fact. For example, at a place where escape speed is 11.2 km/s, the addition of 0.4 km/s yields a hyperbolic excess speed of 3.02 km/s:\n\nIf a body in circular orbit (or at the periapsis of an elliptical orbit) accelerates along its direction of travel to escape velocity, the point of acceleration will form the periapsis of the escape trajectory. The eventual direction of travel will be at 90 degrees to the direction at the point of acceleration. If the body accelerates to beyond escape velocity the eventual direction of travel will be at a smaller angle, and indicated by one of the asymptotes of the hyperbolic trajectory it is now taking. This means the timing of the acceleration is critical if the intention is to escape in a particular direction.\n\nIf the speed at periapsis is , then the eccentricity of the trajectory is given by:\n\nThis is valid for elliptical, parabolic, and hyperbolic trajectories. If the trajectory is hyperbolic or parabolic, it will asymptotically approach an angle from the direction at periapsis, with\n\nThe speed will asymptotically approach\n\nList of escape velocities\nIn this table, the left-hand half gives the escape velocity from the visible surface (which may be gaseous as with Jupiter for example), relative to the centre of the planet or moon (that is, not relative to its moving surface). In the right-hand half, Ve refers to the speed relative to the central body (for example the sun), whereas Vte is the speed (at the visible surface of the smaller body) relative to the smaller body (planet or moon).\n\nThe last two columns will depend precisely where in orbit escape velocity is reached, as the orbits are not exactly circular (particularly Mercury and Pluto).\n\nDeriving escape velocity using calculus\nLet G be the gravitational constant and let M be the mass of the earth (or other gravitating body) and m be the mass of the escaping body or projectile. At a distance r from the centre of gravitation the body feels an attractive force\n\nThe work needed to move the body over a small distance dr against this force is therefore given by\n\nThe total work needed to move the body from the surface r0 of the gravitating body to infinity is then\n\nIn order to do this work to reach infinity, the body's minimal kinetic energy at departure must match this work, so the escape velocity v0 satisfies\n\nwhich results in\n\nSee also\n\n Black hole – an object with an escape velocity greater than the speed of light\n Characteristic energy (C3)\n Delta-v budget – speed needed to perform manoeuvres.\n Gravitational slingshot – a technique for changing trajectory\n Gravity well\n List of artificial objects in heliocentric orbit\n List of artificial objects leaving the Solar System\n Newton's cannonball\n Oberth effect – burning propellant deep in a gravity field gives higher change in kinetic energy\n Two-body problem\n\nNotes\n\nReferences\n\nExternal links\n Escape velocity calculator\n Web-based numerical escape velocity calculator\n\nAstrodynamics\nOrbits\nArticles containing video clips" ]
[ "Manic Street Preachers", "Escape from History and Resistance Is Futile (2017-present)", "What is Escape from History?", "the band revealed a teaser trailer for a new documentary entitled Escape from History, charting the band's journey" ]	C_507d8770973243d98e83327d1a39e64b_1	Was this successful?	2	Was Manic Street Preachers, Escape from History and Resistance Is Futile successful?	Manic Street Preachers	In February 2017 the band revealed a teaser trailer for a new documentary entitled Escape from History, charting the band's journey from The Holy Bible, through to the disappearance of lyricist and guitarist Richey Edwards, to the huge success of Everything Must Go. The documentary aired on Sky Arts on 15 April. The band also stated that they would release a new album later in that year. The band released a special edition of their album Send Away the Tigers on 12 May. 2017 marks the 10th anniversary of the record and the Manics said that "this is a very important album" in their career. The special edition featured a remastered album as well as b-sides and rarities spread over two discs, plus a DVD which features the band's 2007 Glastonbury performance, rehearsal footage, an album track-by-track, and promo videos. On 17 November 2017, the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018. After much delay, the band wrote "The main themes of 'Resistance is Futile' are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration," the band say in a statement. "It's obsessively melodic - in many ways referencing both the naive energy of 'Generation Terrorists' and the orchestral sweep of 'Everything Must Go'. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work." It is the first album to be recorded at the "Door to The River" new studio. In January 2018, Manic Street Preachers signed a new publishing contract with Warner/Chappell Music, leaving their longtime home Sony/ATV Music Publishing. On the new album the Manics launched their first single "International Blue" as a download on 8 December 2017. The second single "Distant Colours" was released also as a download on 16 February 2018. About the first single the band said that there's was certain naive energy and widescreen melancholia on the song that is reflected through the whole album, comparing it to Motorcycle Emptiness. Furthermore the album focused on "(...)things that make your life feel a little bit better. Rather than my internalised misery, I tried to put a sense of optimism into the lyrics by writing about things that we find really inspiring." Said Wire, taking inspiration from David Bowie and seen as almost an escape and a wave of optimism, just like the previoous album was described. On the other hand "Distant Colours" was written by James Dean Bradfield, rather than Nicky Wire, and inspired by disenchantment and Nye Bevan's old Labour. He said: "Musically, the verse is downcast and melancholic and the chorus is an explosion of disillusionment and tears." The third single "Dylan & Caitlin" was released as a download on 9 March 2018. CANNOTANSWER	The documentary aired on Sky Arts on 15 April.	Manic Street Preachers, also known as the Manics, are a Welsh rock band formed in Blackwood in 1986. The band consists of cousins James Dean Bradfield (lead vocals, lead guitar) and Sean Moore (drums, percussion, soundscapes), plus Nicky Wire (bass guitar, lyrics). They form a key part of the 1990s Welsh Cool Cymru cultural movement. Following the release of their debut single "Suicide Alley", Manic Street Preachers were joined by Richey Edwards as co-lyricist and rhythm guitarist. The band's early albums were in a punk vein, eventually broadening to a greater alternative rock sound, whilst retaining a leftist political outlook. Their early combination of androgynous glam imagery and lyrics about "culture, alienation, boredom and despair" gained them a loyal following. Manic Street Preachers released their debut album, Generation Terrorists, in February 1992, followed by Gold Against The Soul in 1993 and The Holy Bible in 1994. Edwards disappeared in February 1995 and was legally presumed dead in 2008. The band achieved commercial success with the albums Everything Must Go (1996) and This Is My Truth Tell Me Yours (1998). The Manics have headlined festivals including Glastonbury, T in the Park, V Festival and Reading. They have won eleven NME Awards, eight Q Awards and four BRIT Awards. They were nominated for the Mercury Prize in 1996 and 1999, and have had one nomination for the MTV Europe Music Awards. They have reached number 1 in the UK charts four times: in 1998, with This Is My Truth Tell Me Yours and the single "If You Tolerate This Your Children Will Be Next", in 2000 with the single "The Masses Against the Classes", and in 2021 with The Ultra Vivid Lament. They have sold more than ten million albums worldwide. History Formation and early years (1986–1991) Manic Street Preachers formed in 1986 at Oakdale Comprehensive School, Blackwood, South Wales, which all the band members attended. Bradfield and the slightly older Moore are cousins and shared bunk beds in the Bradfield family home after Moore's parents divorced. During the band's early years, Bradfield, alongside the classically trained Moore, primarily wrote the music while Wire focused on the lyrics. The origin of the band's name remains unclear, but the most often-told story relates that Bradfield while busking one day in Cardiff, got into an altercation with someone (sometimes said to be a homeless man) who asked him "What are you, boyo, some kind of manic street preacher?" Original bassist Flicker (Miles Woodward) left the band in early 1988, reportedly because he believed that the band were moving away from their punk roots. The band continued as a three-piece, with Wire switching from guitar to bass, and in 1988 they released their first single, "Suicide Alley". Despite its recording quality, this punk ode to youthful escape provides an early insight into both Bradfield's guitar work and Moore's live drumming, the latter of which would be absent from the band's first LP. The Manics intended to restore revolution to rock and roll at a time when Britain was dominated by shoegaze and acid house. The NME gave "Suicide Alley" an enthusiastic review, citing a press release by Richey Edwards: "We are as far away from anything in the '80s as possible." After the release of "Suicide Alley," Edwards joined the band on rhythm guitar and contributed to lyrics alongside Wire. Edwards also designed record sleeves and artwork and drove the band to and from gigs. In 1990 the Manic Street Preachers signed a deal with label Damaged Goods Records for one EP. The four-track New Art Riot E.P. attracted as much media interest for its attacks on fellow musicians as for the actual music. With the help of Hall or Nothing management, the Manics signed to indie label Heavenly Records. The band recorded their first single for the label, entitled "Motown Junk". Their next single, "You Love Us", sampled Krzysztof Penderecki's "Threnody to the Victims of Hiroshima" as well as Iggy Pop. The video featured Nicky Wire in drag as Marilyn Monroe and contained visual references to the film Betty Blue and to Aleister Crowley. In an interview with then-NME journalist Steve Lamacq, Edwards carved the phrase "4REAL" into his arm with a razor blade to prove their sincerity. He was taken to hospital and received seventeen stitches. NME subsequently ran a full-page story on the incident, including a phone interview with Richey on his motivations for doing it. A recording of the editorial meeting discussing whether or not they could publish the image was included as a b-side on the band's 1992 charity single Theme from M.A.S.H. (Suicide Is Painless), featuring Lamacq, the then-editor of NME Danny Kelly and James Brown (who went on to edit Loaded and the British version of GQ). As a result of their controversial behaviour, the Manics quickly became favourites of the British music press, which helped them build a rabidly dedicated following. Columbia Records of Sony Music UK signed the band shortly afterwards and they began work on their debut album. Richey Edwards era: Generation Terrorists to The Holy Bible (1992–1995) The band's debut album, Generation Terrorists, was released in 1992 on the Columbia Records imprint. The liner notes contained a literary quote for each of the album's eighteen songs and the album lasted just over seventy minutes. The album's lyrics are politicised like those of the Clash and Public Enemy, with the album's songs regularly switching from a critical focus on global capitalism to more personal tales of despair and the struggles of youth. About the musical style of the album Pitchfork writer Joe Tangari wrote that Generation Terrorists "walked a weird line between agit-punk, cock rock, romantic melodicism and glam, and was so obviously patterned after the Clash's London Calling that it was actually kind of cute." Other tracks combine personal and political themes, implicating a connection between global capitalism and personal struggle; "Nat West-Barclays-Midlands-Lloyds" was written as a critique of overseas banking credit policies, but also concerned Richey Edwards' issues involving overdrafts and refused loans. Marc Burrows of Drowned in Sound considered the song to be an accurate prediction of "global financial meltdown" and its effects on everyday life. The single "Motorcycle Emptiness", meanwhile, criticises consumerism as a "shallow dream" that makes human life overtly commercialised. "Little Baby Nothing", a duet between Traci Lords and Bradfield, was described by Priya Elan of the NME as a "perfect snapshot of [female] innocence bodysnatched and twisted". The record contained six singles and sold 250,000 copies. The success of 1996's Everything Must Go at the 1997 Brit Awards ensured that sales of Generation Terrorists and subsequent albums Gold Against the Soul and The Holy Bible enjoyed a late surge; the band's debut sold an extra 110,000 copies. The band also made a cover version of the song "Suicide Is Painless" which peaked at number 7 in the UK charts, spending 3 weeks in the Top 10, and giving the band their first ever Top 10 hit single. The group's second album, Gold Against the Soul, displayed a more commercial, grungy sound which served to alienate both fans and the band itself. It was released to mixed reviews but still performed well, reaching number eight in the UK album chart. The album presents a different sound from their debut album, not only in terms of lyrics but in sound, the band privileged long guitar riffs, and the drums themselves feel more present and loud in the final mix of the album. This sound would be abandoned in their next album and as for the nature of the lyrics they also changed, with Edwards and Wire eschewing their political fire for introspective melancholy. According to AllMusic, the album "takes the hard rock inclinations of Generation Terrorists to an extreme." The band also stated that the choice to work with Dave Eringa again was important for this album: "We finished work in November and then just went straight into a demo studio and we came out about four weeks later with the album all finished. We were all happy with all the songs, we knew what they wanted to sound like, so we didn't want to use a mainstream producer because they've got their own sound and vision of what a record should be like. So we just phoned Dave up and said 'Look, come down, let's see how this works out', and everyone loved what we were doing, so we decided to stay with him." The band have described Gold Against the Soul as their least favourite album and the period surrounding the album as being the most unfocused of their career. The band's vocalist and guitarist James Dean Bradfield has said "All we wanted to do was go under the corporate wing. We thought we could ignore it but you do get affected." By early 1994, Edwards' difficulties became worse and began to affect the other band members as well as himself. He was admitted into The Priory in 1994 to overcome his problems and the band played a few festivals as a three-piece to pay for his treatment. The group's next album, The Holy Bible, was released in August to critical acclaim, but sold poorly. The album displayed yet another musical and aesthetic change for the band, largely featuring army/navy uniforms. Musically, The Holy Bible marks a shift from the modern rock sound of their first two albums, Generation Terrorists and Gold Against the Soul. In addition to the album's alternative rock sound the album incorporates various elements from other musical genres, such as hard rock, British punk, post-punk, new wave, industrial, art rock and gothic rock. Lyrically the album deals with subjects including prostitution, American consumerism, British imperialism, freedom of speech, the Holocaust, self-starvation, serial killers, the death penalty, political revolution, childhood, fascism and suicide. According to Q: "the tone of the album is by turns bleak, angry and resigned". There was also an element of autobiographic subjects, like in the song "4st 7lb" where the lyrics clearly tackle Richey's own experience and life. The song was named after 4 stones 7 pounds, or , because it is the weight below which death is said to be medically unavoidable for an anorexic sufferer. The title "The Holy Bible" was chosen by Edwards to reflect an idea, according to Bradfield, that "everything on there has to be perfection". Interviewed at the end of 1994, Edwards said: "The way religions choose to speak their truth to the public has always been to beat them down [...] I think that if a Holy Bible is true, it should be about the way the world is and that's what I think my lyrics are about. [The album] doesn't pretend things don't exist". Ben Patashnik of Drowned in Sound later said that the album in the time of its release "didn't sell very well, but its impact was felt keenly by anyone who'd ever come into contact with the Manics", and that it is now a "masterpiece [...] the sound of one man in a close-knit group of friends slowly disintegrating and using his own anguish to create some of the most brilliant art to be released on a large scale as music in years [...] It's not a suicide note; it's a warning." In support of the album the band appeared on Top of the Pops, performing its first single, "Faster", which reached No. 16. The performance was extremely controversial at the time, as the band were all dressed in army regalia. Bradfield wore a "terrorist-style" balaclava. At the time, the band was told by the BBC that they had received the most complaints ever. The album eventually has sold over 600,000 copies worldwide and is frequently listed among the greatest records ever recorded. In April and May 1994 the band first performed songs from The Holy Bible at concerts in Thailand and Portugal and at a benefit concert for the Anti-Nazi League at Brockwell Park, London. In June, they played the Glastonbury Festival. In July and August, without Richey Edwards, they played T in the Park in Scotland, the Alte Wartesaal in Cologne, the Parkpop Festival in The Hague and the Reading Festival. During September, October and December there was a headline tour of the UK and Ireland and two tours in mainland Europe with Suede and Therapy?. In December, three nights at the London Astoria ended with the band smashing up their equipment and the venue's lighting rig, causing £26,000 worth of damage. Edwards disappeared on 1 February 1995, on the day when he and James Dean Bradfield were due to fly to the US on a promotional tour. In the two weeks before his disappearance, Edwards withdrew £200 a day from his bank account, which totalled £2,800 by the day of the scheduled flight. He checked out of the Embassy Hotel in Bayswater Road, London, at seven in the morning, and then drove to his apartment in Cardiff, Wales. In the two weeks that followed he was apparently spotted in the Newport passport office, and the Newport bus station. On 7 February, a taxi driver from Newport supposedly picked up Edwards from the King's Hotel in Newport, and drove him around the valleys, including Blackwood (Edwards' home as a child). The passenger got off at the Severn View service station near Aust and paid the £68 fare in cash. On 14 February, Edwards' Vauxhall Cavalier received a parking ticket at the Severn View service station and on 17 February, the vehicle was reported as abandoned. Police discovered the battery to be flat, with evidence that the car had been lived in. Due to the service station's proximity to the Severn Bridge (which has been a renowned suicide location in the past) it was widely believed that he took his own life by jumping from the bridge. Many people who knew him, however, have said that he was never the type to contemplate suicide and he was quoted in 1994 as saying "In terms of the 'S' word, that does not enter my mind. And it never has done, in terms of an attempt. Because I am stronger than that. I might be a weak person, but I can take pain." Since then he has reportedly been spotted in a market in Goa, India, and on the islands of Fuerteventura and Lanzarote. There have been other alleged sightings of Edwards, especially in the years immediately following his disappearance. However, none of these has proved conclusive and none has been confirmed by investigators. He has not been seen since. Manic Street Preachers was put on hold for six months and disbanding the group was seriously considered, but with the blessing of Edwards' family, the other members continued. Edwards was legally "presumed dead" in 2008, to enable his parents to administer his estate. The band continue to set up a microphone for Edwards at every live performance. Everything Must Go to Lifeblood (1996–2006) The first album without Edwards, Everything Must Go, was released on 20 May 1996. The band had chosen to work with new producer Mike Hedges, mainly for his work on Siouxsie and the Banshees' single "Swimming Horses" that Bradfield rated highly. Hedges had already been approached before to produce The Holy Bible but he wasn't available at the time. Everything Must Go debuted on the UK Albums Chart at number 2, so far the album has gone Triple Platinum in the UK and is their most successful album to date, spending 103 weeks in the Top 100 with the album still in the Top 5 a year after its release. Containing five songs either written or co-written by Edwards the album was released to overwhelmingly positive reviews. Lyrically the themes were different from their previous effort, instead of introspective and autobiographical tracks such as "4st 7lb", Wire's predilection for historical and political themes dominates, like the No. 2 hit single "A Design for Life". The song was the first to be written and released by the band following the mysterious disappearance of figurehead Richey Edwards the previous year and was used as the opening track on Forever Delayed, the band's greatest hits album released in November 2002. James Dean Bradfield later recalled that the lyric had been a fusion of two sets of lyrics-"Design for Life" and "Pure Motive"-sent to him from Wales by bassist Nicky Wire, while he was living in Shepherd's Bush. The music was written "in about ten minutes" and Bradfield felt a sense of euphoria with the result. The song was credited with having "rescued the band" from the despair felt after the disappearance of Edwards, with Wire describing the song as "a bolt of light from a severely dark place". The album was shortlisted for the 1996 Mercury Prize award for best album and won the band two Brit Awards for Best British Band and Best British Album, as well as yielding the hit singles "Australia", "Everything Must Go" and "Kevin Carter". Subjects tackled on the album include the tragic life of the photographer Kevin Carter, on the track of the same name, Willem de Kooning and the maltreatment of animals in captivity on "Small Black Flowers That Grow in the Sky" (which is a quote from the film The Best Years of Our Lives). The latter track, with lyrics by Edwards, can also be interpreted as an exploration of his mental state before his disappearance; the line "Here chewing your tail is joy" for instance may be as much about Richey's self-harm as it is the tormented self-injury of zoo animals. It was their most direct and mature record to date and it established the Manics as superstars throughout the world. The album has sold over two million copies around the world, and it is still considered one of the finest releases of the decade, a classic album from the 1990s and frequently voted in polls in the category of best albums of all time by many publications. In 1997 the band performed a special gig at the Manchester Arena for more than 20,000 people. Bassist Nicky Wire said that was the moment he knew that the band had "made it". The recording was released as a VHS video on 29 September 1997 and has only been reissued on DVD in Japan. This Is My Truth Tell Me Yours (1998) was the first number 1 of the band in the UK, remaining at the top of the albums chart for 3 weeks, selling 136,000 copies in the first week and spending a total of 74 weeks in the Album Chart. The title is a quotation taken from a speech given by Aneurin Bevan, a Labour Party politician from Wales. Its working title was simply Manic Street Preachers. The cover photograph was taken on Black Rock Sands near Porthmadog, Wales. Around the world the album also peaked at number 1 in countries like Sweden and Ireland, and it sold over five million copies worldwide. With their fifth album, the group also had a No. 1 single, "If You Tolerate This Your Children Will Be Next". The song's theme is taken from the Spanish Civil War, and the idealism of Welsh volunteers who joined the left-wing International Brigades fighting for the Spanish Republic against Francisco Franco's military rebels. The song takes its name from a Republican poster of the time, displaying a photograph of a young child killed by the Nationalists under a sky of bombers with the stark warning "If you tolerate this, your children will be next" written at the bottom. The song is in the Guinness World Records as the number one single with the longest title without brackets. The album also included the hit singles "You Stole the Sun from My Heart", "Tsunami" and "The Everlasting". The Manics won Best British Band and Album awards at the BRIT Awards in 1999. This Is My Truth Tell Me Yours was also shortlisted for the 1999 Mercury Prize and the band received a further nomination in the category of Best UK & Ireland Act in the 1999 MTV Europe Music Awards, where the band performed live the single If You Tolerate This Your Children Will Be Next. In the NME Awards in 1999, the band won every single big prize, Best Band, Best Album, Best Live Act, Best Single and Best Video, nailing also the prize for Best Band in the World Today in the Q Awards 1998. After headlining Glastonbury Festival, T in the Park and V Festival, the band played the Leaving the 20th Century concert at the Millennium Stadium in Cardiff on 31 December 1999, the first concert to be held there, with 57,000 people attending and the final song being broadcast around the world by satellite as part of 2000 Today. The concert is available on VHS and DVD. Subtitled English lyrics, available as an extra, contain errors when compared to the official lyrics in the band's album booklets and in between some of the tracks there are interview clips where the band discusses their history and the songs. In 2000, they released the limited edition single "The Masses Against the Classes". Despite receiving little promotion, the single sold 76,000 copies in its first week and reached number one in the UK Singles Chart on 16 January 2000, beating "U Know What's Up" by Donell Jones to the top. The catalogue entry for the single was deleted (removed from wholesale supply) on the day of release, but the song nevertheless spent 9 weeks in the UK chart. In 2001, they became the first popular Western rock band to play in Cuba (at the Karl Marx Theater) and met with President Fidel Castro. Their concert and trip to Cuba was documented and then released as a DVD entitled Louder Than War. At this concert, they revealed many tracks from their upcoming sixth album, Know Your Enemy, which was released on 19 March. The left-wing political convictions of the Manic Street Preachers are apparent in many of the album's songs, such as "Baby Elián" as they comment on the strained relations between the United States and Cuba as seen in the Elián González affair, a hot topic around the album's release. The band also pays tribute to singer and civil rights activist Paul Robeson in the song "Let Robeson Sing", but the song "Ocean Spray", which was a single, was written entirely by James about his mother's battle with cancer. The first singles from the album, "So Why So Sad" and "Found That Soul", were both released on the same day. The final single "Let Robeson Sing" was released later. The Manics also headlined Reading and Leeds Festival. The greatest hits (plus remixes) album Forever Delayed was released in 2002, containing two new songs, "Door to the River" and the single "There by the Grace of God". Several songs were edited for length ("Motorcycle Emptiness," "You Love Us", "Australia," "Everything Must Go," "Little Baby Nothing," and "The Everlasting") so that more tracks could fit onto the CD (though not listed as edits in the liner notes). The Forever Delayed DVD was released in 2002 together with the greatest hits CD and photo book that bear the same name, and features all the promo music videos from the start of the band's career released before the DVD. Along with the promo videos, there is a selection of 14 remix videos, where the visual material is taken from clips of the other promo videos as well as backdrop visuals from the band's live concerts. The album peaked and debuted on the UK Albums Chart at #4. An album of B-sides, rarities, and cover versions was released in 2003 entitled Lipstick Traces (A Secret History of Manic Street Preachers), which contains the last song the band worked on with Edwards. The album received a far more positive reception from fans than the Forever Delayed greatest hits album, which was heavily criticised for favouring the band's more commercially successful singles. The only recurring criticism of Lipstick Traces was the exclusion of the fan favourite "Patrick Bateman", from the "La Tristesse Durera (Scream to a Sigh)" single. The band explained that it was excluded mainly because it was almost seven minutes long and simply would not fit on the album. The band's seventh studio album, Lifeblood, was released on 1 November 2004 and reached No. 13 on the UK album chart. Critical response to the album was mixed. The album was more introspective and more focused on the past, Wire talked about the ghosts that haunted this record and stated that the record was a retrospective: "The main themes are death and solitude and ghosts. Being haunted by history and being haunted by your own past. Sleep is beautiful for me. I hate dreaming because it ruins ten hours of bliss. I had a lot of bad dreams when Richey first disappeared. Not ugly dreams, but nagging things. Until we wrote 'Design for Life', it was six months of misery. Lifeblood doesn't seek to exorcise Edwards' ghost, though, just admits that there are no answers". Tony Visconti helped the band produce three songs on the album, which was followed by a UK arena tour in December 2004. "Empty Souls" and "The Love of Richard Nixon" were the two singles released from the album, both reaching No. 2 in the UK. A tenth-anniversary edition of The Holy Bible was released on 6 December 2004, which included a digitally remastered version of the original album, a rare U.S. mix (which the band themselves have admitted to preferring to the original UK mix) and a DVD of live performances and extras including a band interview. In April 2005, the band played several shows as the Past-Present-Future tour—announced as their last for at least two years. The band released an EP entitled God Save the Manics with only a limited number of copies available and given out to fans as they arrived at the venue. After all the copies were gone, the band made the EP available as a free download on their website. In September, the band contributed the new track "Leviathan" to the War Child charity album Help!: A Day in the Life. In 2006 the band received the prize for the Q Merit Award in the Q Awards 2006 and also the 10th-anniversary edition of Everything Must Go was released on 6 November. It included the original album, demos, B-sides, remixes, rehearsals and alternate takes of the album's songs, spread out over two CDs. An additional DVD, featuring music videos, live performances, TV appearances, a 45-minute documentary on the making of the album, and two films by Patrick Jones, completed the three-disc set. In the 10th-anniversary edition, the band itself claims that they're still fond of the record, and Wire goes further saying: "I think it's our best record, I am not afraid to say that." Send Away the Tigers to National Treasures (2007–2012) The band's eighth studio album, Send Away the Tigers, was released on 7 May 2007 on Columbia Records. It entered the official UK album charts at No. 2. Critical response to the album was largely positive, with some critics hailing the album as the band's best in a decade. A free download of a song entitled "Underdogs" from the album was made available through the group's website on 19 March 2007. The first official single released from Send Away the Tigers was "Your Love Alone Is Not Enough", which features Cardigans vocalist Nina Persson and according to the band they always had a duet in mind, seeing that the lyrics have a question/reply style to it. According to singer Bradfield, the title was the last line of a suicide note left by the friend of someone close to the group. The second single, "Autumnsong", and a third, "Indian Summer", were released in August. "Indian Summer" peaked at number 22, making it the first Manics single not to chart in the Top 20 since 1994's "She Is Suffering". The album sleeve features a quotation from Wyndham Lewis: "When a man is young, he is usually a revolutionary of some kind. So here I am, speaking of my revolution". The band ended up promoting the album with appearances in the summer festivals like Reading and Leeds Festivals and Glastonbury Festival. The band released a Christmas single, "The Ghosts of Christmas", in December. The track was available as a free download on their official website throughout December 2007 and January 2008. In February 2008, the band were presented with the God-Like Geniuses Award at the NME Awards ceremony. The ninth Manics album, Journal for Plague Lovers, was released on 18 May 2009 and features lyrics left behind by Edwards. Wire commented in an interview that "there was a sense of responsibility to do his words justice." The album was released to positive critical reviews and reached No. 3 on the UK Album Chart. However, the cover of the album generated some controversy, with the top four UK supermarkets stocking the CD in a plain slipcase, as the cover was deemed "inappropriate". Bradfield regarded the decision as "utterly bizarre", and has commented: "You can have lovely shiny buttocks and guns everywhere in the supermarket on covers of magazines and CDs, but you show a piece of art and people just freak out." Several tracks refer to Edwards' time in a couple of hospitals in 1994. Among them is "She Bathed Herself in a Bath of Bleach", of which James Dean Bradfield said to the NME: "There're some people he met when he was in one of the two places having treatment and I think he just digested other people's stories and experiences." The final track, "William's Last Words", has been compared to a suicide note, and although Nicky Wire rejects this suggestion, Bradfield observes, "you can draw some pretty obvious conclusions from the lyrics." Wire, who admitted finding the task of editing this song "pretty choking", eventually composed the music and sang lead vocals after Bradfield found himself unsuited to the task. Bradfield commented that Journal for Plague Lovers was an attempt to finally secure the legacy of their former member Richey Edwards and the result was that, during the recording process, it was as close to feeling his presence since his disappearance: "There was a sense of responsibility to do his words justice. That was part of the whole thing of letting enough time lapse. Once we actually got into the studio, it almost felt as if we were a full band; it [was] as close to him being in the room again as possible." Tracks from Journal for Plague Lovers have been remixed by a number of artists, and the Journal for Plague Lovers Remixes EP was released on 15 June 2009. Martin Noble of the band British Sea Power remixed the song "Me and Stephen Hawking"; Andrew Weatherall remixed "Peeled Apples", which he has described as "sounding like Charlie Watts playing with PiL"; The Horrors remixed "Doors Closing Slowly"; NYPC remixed the song "Marlon J.D" and the EP also features remixes by Patrick Wolf, Underworld, Four Tet, Errors, Adem, Optimo and Fuck Buttons. On 18 June 2009, the Manics officially opened the new Cardiff Central Library. Wire later said in an interview with The Guardian that the occasion had been a great honour for the band: On 1 June 2010, the band announced on their homepage that a new album called Postcards from a Young Man would be released on 20 September. James Dean Bradfield said that the album would be an unashamedly pop-orientated affair, following 2009's Journal for Plague Lovers. "We're going for big radio hits on this one", he told NME. "It isn't a follow-up to Journal for Plague Lovers. It's one last shot at mass communication." On 26 July, the first single from the new album, "(It's Not War) Just the End of Love", was played on the breakfast shows of BBC Radio 2, BBC 6Music, XFm and Absolute Radio. It was released on 13 September. The title had previously been suggested as a working title for the album by Nicky Wire. Three collaborations were also confirmed on the band's website later that day: Duff McKagan would appear on "A Billion Balconies Facing the Sun", Ian McCulloch will add guest vocals to "Some Kind of Nothingness" and John Cale will feature on "Auto-Intoxication". Of the album's lead single, "(It's Not War) Just the End of Love," Nicky Wire claimed: "I believe in the tactile nature of rock 'n' roll. There's a generation missing out on what music meant to us...You can only elaborate on the stuff that compels you to. But "It's Not War..." is kind of saying, "Alright, we're not 18, but even at 40 the rage is still there". Postcards from a Young Man was recorded with producer (and longtime Manics collaborator) Dave Eringa and was mixed in America by Chris Lord-Alge. It was released in a standard version, 2 CD deluxe version, and limited edition box set. The album cover art uses a black and white photograph of British actor Tim Roth. The album was supported by the Manics' most extensive tour of the UK to date, starting in Glasgow on 29 September 2010. British Sea Power were the support act for the band on the tour. Two further singles were released from the album—the McCulloch-featuring "Some Kind of Nothingness" and the title track "Postcards from a Young Man". "Some Kind of Nothingness" peaked at No. 44 in the UK making it the first-ever Manics single to not make the Top 40 since they signed to Sony in 1991. The band initially announced that their next album had the working title 70 Songs of Hatred and Failure and would sound very different from Postcards From A Young Man: "The next album will be pure indulgence. There's only so much melody stored in your body that you can physically get onto one record. It was just so utterly commercial and melodic." However, Nicky Wire contradicted this in 2011 while doing promotion for their greatest hits compilation National Treasures. When asked why the band was releasing the compilation Wire stated: "It's just the end of an era. Not the end of a band. We're gonna disappear for quite a long time." National Treasures – The Complete Singles was released on 31 October 2011, preceded by the release of the single "This Is the Day", a cover of the song by The The. On 17 December 2011, the group performed 'A Night of National Treasures' at O2 Arena in London to celebrate the band's 25 years to date, and enter into a period of hiatus where the eleventh album was written. The band performed all 38 singles, with around 20,000 people in attendance, as well as guest performers including Nina Persson from the Cardigans who sings with the band on the single "Your Love Alone Is Not Enough" and Gruff Rhys from Super Furry Animals who sang with the band that night on the track Let Robeson Sing. In April and May 2012, the band embarked on a European greatest hits tour. The compilation was voted by NME magazine as the best re issue of 2011, beating Nirvana's deluxe and super deluxe edition of Nevermind to the top spot. Despite the "complete singles" title, National Treasures does not contain every Manic Street Preachers single. Notable omissions are the band's very first single, "Suicide Alley" (1989), "Strip It Down" from the New Art Riot EP (1990), for which the band's first promotional video was made, and "You Love Us (Heavenly Version)" (1991). For singles originally released as double-A sides, only one song is included: therefore from "Love's Sweet Exile/Repeat" (1992) and "Faster/P.C.P." (1994), only the first of each pair are included. On 10 October the band announced via Facebook that a film-interview-documentary about their album Generation Terrorists would be screened at 2012's Festival as a Welsh exclusive. The film was shown at Chapter Arts Centre on Saturday 20 October, with all profits being donated to Young Promoters Network. The film was made available in the 20th-anniversary re-issue of Generation Terrorists, of which there were five editions: Single Disc edition: Original Album 2 Disc Deluxe edition: Includes Original Album + Demos with DVD of Culture, Alienation, Boredom, Despair (A making of the album) 4 Disc Limited edition (3,000 copies worldwide): Includes Original Album, Demos, B-Sides, Rarities, CABD DVD + Replica of Generation Terrorist Tour VIP Pass, 10" Collage by Richey Edwards, 10" Vinyl LP of a rare Manics Radio Performance and a 28-page book from Nicky Wire's archive. Also, if the Deluxe edition was purchased from the London record store "Rough Trade", then alongside the £20 purchase came a free ticket to see a showing of the CABD film, followed by an acoustic gig with James Dean Bradfield on 6 November. Rewind the Film to The Ultra Vivid Lament (2013–present) In May 2013, the band announced an Australasian tour for June and July, that would see them play their first-ever show in New Zealand. This tour coincided with the British and Irish Lions rugby tour to Australia and the Melbourne concert on the eve of the 2nd Test featured Lions' centre Jamie Roberts as a guest guitarist on "You Love Us". In May 2013 the Manics released information about their most recent recording sessions, saying that they had enough material for two albums; the first would be almost exclusively without electric guitars. The name of the first album and title track was revealed to be Rewind the Film on 8 July. In a statement, the band announced, "(If) this record has a relation in the Manics back catalogue, it's probably the sedate coming of age that was This Is My Truth Tell Me Yours." The band also stated via Twitter, "MSP were in the great Hansa Studios in January with Alex Silva (who recorded The Holy Bible with us). Berlin was inspirational... Sean been playing a french horn in the studio today—sounding wonderful." The lead single of the album, "Show Me the Wonder", was referred to on their Twitter account, the Manics posted, "I think 'show me the wonder' is the 1st ever manics single without JDBs electric guitar on-xx." The single was released on 9 September 2013 to a positive critical reception. The album itself was released on 16 September 2013 and reached No. 4 on the UK Album Chart. The second single of the album "Anthem for a Lost Cause" was released on 25 November 2013. The other album, Futurology, the band's twelfth studio album, was released on 7 July 2014 and it received immediate critical acclaim. The lead single from the album, "Walk Me to the Bridge", was released as a digital download on the day of the announcement, on 28 April. Futurology, according to the band, is an album full of ideas and one of their most optimistic yet, as Wire said to the NME magazine in an interview: "There's an overriding concept behind 'Futurology' which is to express all the inspiration we get from travel, music and art—all those ideas, do that in a positive way. 'Rewind The Film' was a harrowing 45-year-old looking in the mirror, lyrically. 'Futurology' was very much an album of ideas. It's one of our most optimistic records, the idea that any kind of art can transport you to a different universe." The album sold about 20,000 copies in its first week and reached No. 2 on the UK Albums Chart. The title track, "Futurology", was the second and final single released from the album on 22 September, the video debuted on YouTube on 10 August. The video was directed by the British Academy of Film and Television Arts winner Kieran Evans, who worked with the band on videos from their previous effort Rewind The Film. The band promoted the album with a tour around the UK and Europe from March to May 2014, they also made appearances in festivals like T in the Park in Scotland and Glastonbury Festival in the summer. Late in 2014, the band celebrated the release of their seminal album The Holy Bible with a special edition in December, commemorating the 20th anniversary of the album. This edition includes the vinyl edition of the full album, plus a three-CD set, the first CD with the full album remastered for the special release, the second with the US mix remastered and the third including a performance at the Astoria in 1994 and an acoustic session for Radio 4 Mastertapes in 2014. The special edition also contains a 40-page book full of rare photos and handwritten lyrics and notes by Richey and by the band. In the NME Awards 2015, the album won "Reissue of the Year". They also toured the album, playing it in full for the very first time. After the tour in the UK, the Manics took The Holy Bible tour to North America, in April 2015, they played in Washington DC, Toronto, New York, Boston, San Francisco, Los Angeles and Chicago. They also played in the Cardiff Castle on 5 June 2015 with 10,000 fans attending the gig, it was broadcast nationwide by BBC Two Wales. In August 2015 the Manic Street Preachers nailed the 2 top spots on the best NME covers of all time, as voted by the general public. James Dean Bradfield and Sean Moore in November 2015 did a charity hike in Patagonia, Nicky Wire did not participate in the event, the band said: "In November 2015 we will be walking in the footsteps of our Welsh ancestors when we will be part of the Velindre group of 50 people celebrating the 150th anniversary of Welsh settlers arriving in Patagonia with a challenging six-day trek." Also in November 2015, the Manic Street Preachers announced that they were going to celebrate the 20th anniversary of their 1996 album Everything Must Go, with their biggest headline show since 1999, in the Liberty Stadium, in Swansea on 28 May 2016, featuring special guests like Super Furry Animals. The album was performed in full, with Nicky Wire teasing "b-sides, rarities and curios, greatest hits and a few brand-new songs". Before the final show in Swansea the band played: Liverpool, Echo Arena (13 May), Birmingham, Genting Arena (14 May), London, Royal Albert Hall (16–17 May), Leeds, First Direct Arena (20 May) and Glasgow, the SSE Hydro (21 May). In early 2016 the band announced the European tour of "Everything Must Go", they played across Europe, in Finland, Denmark, the Netherlands and Germany. Similar to what happened with "The Holy Bible" the Manics released on 20 May, a special anniversary edition for the album, which includes the full album remastered plus the B-sides, a heavyweight vinyl, the 1997 Nynex concert fully restored on DVD, a film about the making of the album, the official videos for the all singles and a 40-page booklet. It was also made available a standard edition with a double-CD featuring only the remastered album and the concert at the Nynex Arena. The band announced in March 2016 that they would be releasing a theme song for the Wales national team ahead of the UEFA Euro 2016 tournament in the summer, entitled "Together Stronger (C'mon Wales)", it was released on 20 May, featuring also a video with the band and the Welsh team, the Manics tweeted: "It's with great pride we can announce the Manics are providing the official Wales Euro 2016 song – 'Together Stronger (C'mon Wales)'". All profits from the song went to the Princes Gate Trust and Tenovus Cancer Care. On 8 July the band was at the Cardiff City Stadium to give a home welcome to the Wales football national team after they were knocked out of the UEFA Euro 2016 by Portugal in the semi-finals, the band played a few songs in the stadium including the official theme song "Together Stronger (C'mon Wales)". On the next night, 9 July, the Manics headlined a night at the Cornwall's Eden Project, and later the band managed to secure a new recording studio near Newport, Wales. The city's council ensured that only the band can use the studio, there would be an increase on-site parking and a series of soundproofing measures to ensure nearby properties aren't disturbed by noise. To end the summer, the Manics went on to headline another two festivals, Wasa Open Air in Finland in mid-August and in late August the Victorious Festival in Portsmouth. The band also received a nomination in the 25th British Academy Cymru Awards for the best live outside broadcast after their 2015 gig in the Cardiff Castle, celebrating the 20th anniversary of the "Holy Bible". In February 2017 the band revealed a teaser trailer for a documentary entitled Escape from History, charting the band's journey from The Holy Bible, through to the disappearance of lyricist and guitarist Richey Edwards, to the huge success of Everything Must Go. The documentary aired on Sky Arts on 15 April. The band also stated that they would release an album later in that year. The band released a special edition of their album Send Away the Tigers on 12 May. 2017 marks the 10th anniversary of the record and the Manics said that "this is a very important album" in their career. The special edition featured a remastered album as well as B-sides and rarities spread over two discs, plus a DVD which features the band's 2007 Glastonbury performance, rehearsal footage, an album track-by-track, and promo videos. On 17 November 2017, the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018. After much delay, the band wrote "The main themes of 'Resistance is Futile' are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration", the band say in a statement. "It's obsessively melodic—in many ways referencing both the naive energy of 'Generation Terrorists' and the orchestral sweep of 'Everything Must Go'. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work." It is the first album to be recorded at the "Door to the River" studio. In January 2018, Manic Street Preachers signed a publishing contract with Warner/Chappell Music, leaving their longtime home Sony/ATV Music Publishing. On the album, the Manics launched their first single "International Blue" as a download on 8 December 2017. The second single "Distant Colours" was released, also as a download, on 16 February 2018. About the first single the band said that there's was certain naive energy and widescreen melancholia on the song that is reflected through the whole album, comparing it to Motorcycle Emptiness. Furthermore, the album focused on "(...)things that make your life feel a little bit better. Rather than my internalised misery, I tried to put a sense of optimism into the lyrics by writing about things that we find really inspiring." Said Wire, taking inspiration from David Bowie and seen as almost an escape and a wave of optimism, just like the previous album was described. On the other hand, "Distant Colours" was written by James Dean Bradfield, rather than Nicky Wire, and inspired by disenchantment and Nye Bevan's old Labour. He said: "Musically, the verse is downcast and melancholic and the chorus is an explosion of disillusionment and tears." The third single "Dylan & Caitlin" was released as a download on 9 March 2018. The fourth single "Liverpool Revisited" is about a magical day in the city, Nicky added that: "It was on the Everything Must Go (anniversary) tour and I got up really early at sunrise to walk around Liverpool, polaroid camera in hand on a balmy day. It sounds clichéd I know, but Liverpool in the sun does take on a hypnotic quality, with the Mersey and the stone." The band also revealed that they were to support Guns N' Roses during their summer tour. The fifth and final single, "Hold Me Like a Heaven", was released as a download on 4 May 2018. Wire said that the song was inspired musically by David Bowie's Ashes to Ashes, something that the band wanted to write about, and Nicky thinks that this the closest that the band is going to get, sharing also that lyrics were informed by the work of Philip Larkin. The album sold around 24,000 copies in the first week, entering the UK Albums Chart at number 2, despite being number 1 during the week. It was the highest new entry on the chart, and on physical sales the album peaked at number 1, both on CD and vinyl. In October 2018, the band announced a twentieth-anniversary collector's edition re-release of This Is My Truth Tell Me Yours. It was made available on digital, CD, and vinyl, with the CD edition featuring bonus demos, live rehearsal recordings, remixes, and B-sides. The album was launched on 7 December 2018 and to promote it, the band went on tour in Spring and Summer 2019, performing the album in full alongside other content. In March 2020, the Manics announced a deluxe reissue of their Gold Against the Soul album for release on 12 June 2020. Bonus content included previously unreleased demos, B-sides from the era, remixes, and a live recording, while the CD was released alongside a book of unseen photographs from the era with handwritten annotations and lyrics from the band. The next day, the unnamed follow-up album to Resistance is Futile, their fourteenth overall, was confirmed to NME alongside Bradfield's second solo album. The group's album, including a track called "Orwellian", was described as "expansive" and is due for release in Summer 2021. On 14 May 2021, the Manics announced the title of their fourteenth studio album: The Ultra Vivid Lament. The first single from the album, "Orwellian", was released on the same day. "The Secret He Had Missed", the second single from the album, was released on 16 July 2021. The Ultra Vivid Lament was released on 10 September 2021 and received generally positive reviews from critics: on Metacritic, the album has a weighted average score of 78 out of 100 based on 12 reviews, indicating "generally favorable reviews". The album sold 27,000 copies in the first week, granting the band their second UK Number 1 album as they narrowly beat Steps to the number 1 spot. Solo work In late 2005, both Bradfield and Wire announced that they intended to release solo material before a new album by the band. A free download of Nicky Wire's debut solo offering I Killed the Zeitgeist was posted on the band's website for just one day, Christmas Day 2005, while "The Shining Path" was released exclusively on iTunes for download. Also, a promotional album sampler had been sent out to the press and certain other people which included "I Killed the Zeitgeist", "Goodbye Suicide", "Sehnsucht", and "Everything Fades". The album was officially released in September 2006. It charted at No. 130 in the UK. The sound of the album, which Nicky referred to as his "nihilistic anti-everything album", was inspired by, among others, Neu!, the Plastic Ono Band, Einstürzende Neubauten, the Modern Lovers, Richard Thompson and Lou Reed. Only one official single was released, "Break My Heart Slowly", which charted at No. 74. Nicky toured small intimate venues across the UK with his band the Secret Society. Bradfield's solo album, The Great Western, was released in July 2006, to positive reviews from critics. It reached No. 22 in the UK. The sound of the album was inspired by, among others, Jeff Beck, Badfinger, Simple Minds and McCarthy. Two singles were released: "That's No Way to Tell a Lie" (No. 18) in July, which was also the background music to the BBC's Match of the Day's 'Goal of the Month' competition, and then "An English Gentleman" (No. 31) in September. The latter is in remembrance of the first Manics manager Philip Hall, who died from cancer in 1993 and to whom The Holy Bible had been dedicated. The initial pressings of the red 7" single were made with black vinyl, some of which were sent out to distributors by mistake. James toured the album with a band that included Wayne Murray, who would subsequently play the second guitar for Manics live performances. James's solo gigs featured covers of the Clash songs "Clampdown" and "The Card Cheat", both from the album London Calling. In a later interview, when the band were collectively asked what they had learned from making a solo album, Sean Moore dryly quipped "Not to do one". In March 2020, Bradfield was confirmed to be working on a second album while the band took a short break, while Wire was also considering more solo content. That June, two tracks by Bradfield, "There'll Come a War" and "Seeking the Room With the Three Windows", were released digitally. The album title was announced as Even in Exile the next week alongside the launch of its first single, "The Boy From the Plantation", and the album was released on 14 August 2020. The album was generally well-received and peaked at no.6 in the UK Albums Chart Collaborations and covers The band released a split single in 1992 with the Fatima Mansions, a rock cover of "Suicide Is Painless", which became their first UK Top 10 hit. They have recorded many cover versions of songs by other artists, primarily as B-sides for their own singles. Bands and artists to whom the group have paid tribute in this way include the Clash, Guns N' Roses, Alice Cooper, Happy Mondays, McCarthy, Chuck Berry, Faces and Nirvana. The band's first musical appearance since Edwards' departure was recording a cover of "Raindrops Keep Fallin' on My Head" for The Help Album, a charity effort in 1995 in support of aid efforts in war-torn Bosnia and Herzegovina. The Lightning Seeds' song "Waiting for Today to Happen", from their fifth album, Dizzy Heights (1996), was written by Nicky Wire and Ian Broudie. That same year, James Dean Bradfield and Dave Eringa produced Northern Uproar's first single, "Rollercoaster/Rough Boys". The 808 State song "Lopez" (1997) features lyrics by Wire and vocals by Bradfield. It is featured on their greatest hits album, 808:88:98. Kylie Minogue's sixth album, Impossible Princess (1997), features two songs co-written and produced by the Manics: "Some Kind of Bliss" (Bradfield, Minogue and Sean Moore) and "I Don't Need Anyone" (Bradfield, Jones and Minogue) were produced by Bradfield and Dave Eringa. Bradfield provided backing vocals, bass guitar and production for the Massive Attack song "Inertia Creeps" (1998), which features on their successful third album, Mezzanine. Patrick Jones's album of poetry set to music, Commemoration and Amnesia (1999), features two songs with music written by Bradfield: the title track and "The Guerilla Tapestry". Bradfield plays the guitar on both songs. Furthermore, the track "Hiraeth" features a section called "Spoken Word", in which Nicky Wire talks about Welsh identity. In February 2006, the band contributed a cover version of "The Instrumental" to the album Still Unravished: A Tribute to the June Brides. In February 2008, the Manics covered Rihanna's hit pop song "Umbrella". Their version appeared on a CD titled NME Awards 2008 given away free with a special souvenir box-set issue of NME magazine, which went on sale 27 February. Additionally, the Manics' version of the song was made available on iTunes from 5 March 2008. Despite being chart-eligible (it reached number 47 in the UK), the release was not intended as an official single. Two further versions (the Acoustic and Grand Slam mixes) were later made available on iTunes and now comprise a three-track Umbrella EP. James Dean Bradfield and Nicky Wire contributed an original song, "The Girl from Tiger Bay", to Shirley Bassey's 2009 studio album, The Performance. Musical style and influences Manic Street Preachers' music has been variously described as alternative rock, Britpop, hard rock glam rock, pop rock, punk metal, and punk rock. The band have stated that the Clash were "probably our biggest influence of all". When they saw them on television, "we thought it was fantastic and got really excited. They were the catalyst for us". In addition, they have cited artists including Aerosmith, Alice in Chains, Electric Light Orchestra, Rory Gallagher, Gang of Four, Guns N' Roses, Joy Division, Magazine, PiL, the Red Hot Chili Peppers, Siouxsie and the Banshees, Skids, Bruce Springsteen, and Wire, as influential or inspirational to their music. Bradfield's guitar hero is guitarist John McGeoch: "He taught me, you can have that rock'n'roll swagger, but still build something into it that's really unsettling, and can cut like a razor blade". Alluding to the band's early relationship with Britpop, Cam Lindsay of Canadian music publication Exclaim! opined that "Britpop was rising, the Manics were offering the polar opposite: a bleak, uncompromising work that wanted nothing to do with the party". Band members Current members James Dean Bradfield – lead and backing vocals, lead guitar, piano, keyboards (1986–present), rhythm guitar (1988–1989, 1995–present) Nicky Wire – bass, piano, backing and lead vocals (1988–present), rhythm guitar (1986–1988) Sean Moore – drums, percussion, trumpet, backing vocals (1986–present) Former members Miles "Flicker" Woodward – bass (1986–1988) Richey Edwards – rhythm guitar, backing vocals (1989–1995; disappeared in 1995; declared dead in 2008) Current touring musicians Wayne Murray (Thirteen:13) – rhythm guitar, backing vocals (2006–present) Nick Nasmyth – keyboards (1995–2005, 2013–present) Gavin Fitzjohn – rhythm guitar, backing vocals (2018–present) Former touring musicians Dave Eringa – keyboards (1993–1995) Greg Haver – rhythm guitar, percussion (2002–2003) Anna Celmore – piano (2002–2003) Guy Massey – rhythm guitar (2004–2005) Sean Read – piano, keyboards, percussion, saxophone (2006–2012) Richard Beak – bass (2018) Timeline Discography Generation Terrorists (1992) Gold Against the Soul (1993) The Holy Bible (1994) Everything Must Go (1996) This Is My Truth Tell Me Yours (1998) Know Your Enemy (2001) Lifeblood (2004) Send Away the Tigers (2007) Journal for Plague Lovers (2009) Postcards from a Young Man (2010) Rewind the Film (2013) Futurology (2014) Resistance Is Futile (2018) The Ultra Vivid Lament (2021) Awards and nominations Best Art Vinyl Awards The Best Art Vinyl Awards are yearly awards established in 2005 by Art Vinyl Ltd to celebrate the best album artwork of the past year. \|- \| 2007 \| Send Away the Tigers \| Best Vinyl Art \| Brit Awards The Brit Awards are the British Phonographic Industry's annual popular music awards. Manic Street Preachers has received four awards from eight nominations. \|- \|rowspan="4"\|1997 \|Manic Street Preachers \|British Group \| \|- \|Everything Must Go \|British Album of the Year \| \|- \|rowspan="2"\|"A Design for Life" \|British Single of the Year \| \|- \|British Video of the Year \| \|- \|rowspan="3"\|1999 \|Manic Street Preachers \|British Group \| \|- \|This Is My Truth Tell Me Yours \|British Album of the Year \| \|- \|"If You Tolerate This Your Children Will Be Next" \|British Single of the Year \| \|- \|2000 \|"You Stole the Sun from My Heart" \|British Single of the Year \| \|} GAFFA Awards \|- \|1998 \|"If You Tolerate This Your Children Will Be Next" \|Årets Udenlandske Hit \| \|} Hungarian Music Awards The Hungarian Music Awards have been given to artists in the field of Hungarian music since 1992. \|- \|2010 \|Journal for Plague Lovers \|rowspan="3"\|Alternative Music Album of the Year \| \|- \|2014 \|Rewind the Film \| \|- \|2015 \|Futurology \| \|} Mercury Prize The Mercury Prize is an annual music prize awarded for the best album released in the United Kingdom by a British or Irish act. \|- \|1996 \|Everything Must Go \|rowspan="2"\|Album of the Year \| \|- \|1999 \|This Is My Truth Tell Me Yours \| \|} NME Awards The NME Awards is an annual music award show in the United Kingdom. \|- \| 1996 \| rowspan=2\|Manic Street Preachers \| Best Band \| \|- \|rowspan="3"\|1997 \|Best Live Act \| \|- \|Everything Must Go \|Best LP \| \|- \|"A Design for Life" \|Best Track \| \|- \|1998 \|rowspan=2\|Manic Street Preachers \|rowspan=2\|Best Band \| \|- \|rowspan="4"\|1999 \| \|- \|This Is My Truth Tell Me Yours \|Best Album \| \|- \|rowspan="2"\|"If You Tolerate This Your Children Will Be Next" \|Best Track \| \|- \|Best Music Video \| \|- \|rowspan=4\|2000 \| "A Design for Life" \| Best Ever Single \| \|- \| The Holy Bible \| Best Album Ever \| \|- \| rowspan="4"\|Manic Street Preachers \| Best Band Ever \| \|- \| Best Band \| \|- \|2001 \|Best Rock Act \| \|- \|2008 \|Godlike Genius Award \| \|- \|2010 \|Journal for Plague Lovers \|Best Album Artwork \| \|- \|2012 \|National Treasures - The Complete Singles \|rowspan="2"\|Reissue of the Year \| \|- \|rowspan="2"\|2013 \|Generation Terrorists \| \|- \|Manic Street Preachers \|Best Fan Community \| \|- \|2015 \|The Holy Bible \|Reissue of the Year \| \|} Q Awards The Q Awards are the UK's annual music awards run by the music magazine Q. \|- \|1996 \|Everything Must Go \|Best Album \| \|- \|1998 \|rowspan="6"\|Manic Street Preachers \|rowspan="4"\|Best Act in the World Today \| \|- \|1999 \| \|- \|2000 \| \|- \|rowspan="2"\|2001 \| \|- \|Best Live Act \| \|- \|2006 \|Merit Award \| \|- \|rowspan="2"\|2007 \|"Your Love Alone Is Not Enough" \|Best Track \| \|- \|Send Away the Tigers \|Best Album \| \|- \|2011 \|Manic Street Preachers \|Greatest Act of the Last 25 Years \| \|- \|2012 \|Generation Terrorists \|Classic Album \| \|- \|2013 \|"Show Me the Wonder" \|Best Video \| \|- \|2014 \|Futurology \|Best Album \| \|- \|2017 \|Manic Street Preachers \|Inspiration Award \| \|} Žebřík Music Awards !Ref. \|- \| rowspan=3\|1998 \| Manic Street Preachers \| Best International Group \| \| rowspan=3\| \|- \|This Is My Truth Tell Me Yours \| Best International Album \| \|- \| "If You Tolerate This Your Children Will Be Next" \| Best International Song \| Viewers' Favourite Album of All Time (The Holy Bible) – Newsnight 15th Best Album of All Time (The Holy Bible) – Melody Maker 10th Best Album Since Creation of Magazine (The Holy Bible) – Q 18th Best Album of All Time (The Holy Bible) – Q 10th Greatest Album of All Time (The Holy Bible) – Kerrang! 11th Greatest Album of All Time (Everything Must Go) – Q 16th Best Album Since Creation of Magazine (Everything Must Go) – Q 22nd Best British Rock Album of All Time (Everything Must Go) – Kerrang! One of the Best Albums of All Time (Everything Must Go) – Absolute Radio One of The Writers' Best Albums (Everything Must Go) of 1996 – The Daily Telegraph Writers' Best Album (Everything Must Go) of 1996 – Melody Maker Readers' Band of 1996 (Runner-up) and Writers' Album of 1996 (Everything Must Go) – NME Writers' Best Live Band of 1996 – NME Brat Award Writers' Best Album of 1996 (Everything Must Go) – Vox Writers' Best Album of 1996 (Everything Must Go) – The Sunday Times Writers' Best Album of 1996 (Everything Must Go) – Sky Writers' Best Album of 1996 (Everything Must Go) and Readers' Best Album of 1996 (Everything Must Go) – Select Writers' Best Album of 1996 (Everything Must Go) – Music Week One of Writers' Top Ten Albums (Everything Must Go) of 1996 – Metal Hammer Writers' Album (Everything Must Go) of 1996 (Runner-up) – Kerrang! One of Writers' Top Five Albums (Everything Must Go) of 1996 – The Independent on Sunday Readers' Best Album (Everything Must Go) of 1996 – Hot Press Writers' Best Album (Everything Must Go) of 1996 – The Guardian Ivor Novello Award for Best Contemporary Song (A Design For Life), 1996 7th Best Band of All Time – 1999 NME Best Ever Category 7th Best Album of All Time (The Holy Bible) – 1999 NME Best Ever Category 8th Best Single of All Time (A Design For Life) – 1999 NME Best Ever Category Best Internacional Rock Group – Eska Music Awards, Poland, 2008 The MOJO Maverick Award 2009 Songwriting Prize at the Classic Rock Roll of Honour Awards, 2011 Ambassadors of Rock – Silver Clef Award 2012 Musician's Union Maestro (for James Dean Bradfield) at the Classic Rock Roll of Honour Awards, 2013 The Ivors Inspiration Award at the Ivor Novello Awards, 2015 References Sources External links 1986 establishments in Wales Cool Cymru Brit Award winners British pop rock music groups British glam rock groups Heavenly Recordings artists Ivor Novello Award winners Musical groups established in 1986 British musical trios Musical quartets NME Awards winners Political music groups Welsh alternative rock groups Welsh hard rock musical groups Welsh punk rock groups Welsh socialists Britpop groups Columbia Records artists	true	[ "\"Sin Despertar\" is a pop song performed by Chilean band Kudai. It was released as the first single of their debut album Vuelo. This single was also their first single as Kudai, after they gave up their old name band Ciao. This single was very successful in Chile and Argentina and later in the rest of Latin America, including Mexico.\n\nMusic video\nKudai's music video for their first single ever \"Sin Despertar\", was filmed in Santiago, Chile and the location used in this music videos was in O'Higgins Park, Movistar Arena Santiago, the video was premiered on 24 June 2004 on MTV, and this was very successful on Los 10+ Pedidos and Top 20.\n\nCharts\n\nReferences\n\nExternal links \nKudai Official Site\nEMI Music Mexico\n\n2004 singles\nKudai songs\n2005 singles\n2006 singles\n2004 songs", "Rough and Ready Volume 2 is a studio album released by Shabba Ranks. This album was not as successful as Volume 1 and it was going to be difficult to create an album as successful as its predecessor, X-tra Naked, which won a Grammy. Volume 2 was criticised for lacking variety.\n\nTrack listing\n\nReferences\n\n1993 albums\nShabba Ranks albums\nEpic Records albums" ]
[ "Manic Street Preachers", "Escape from History and Resistance Is Futile (2017-present)", "What is Escape from History?", "the band revealed a teaser trailer for a new documentary entitled Escape from History, charting the band's journey", "Was this successful?", "The documentary aired on Sky Arts on 15 April." ]	C_507d8770973243d98e83327d1a39e64b_1	What is Resistance is Futile?	3	What does Resistance is Futile mean?	Manic Street Preachers	In February 2017 the band revealed a teaser trailer for a new documentary entitled Escape from History, charting the band's journey from The Holy Bible, through to the disappearance of lyricist and guitarist Richey Edwards, to the huge success of Everything Must Go. The documentary aired on Sky Arts on 15 April. The band also stated that they would release a new album later in that year. The band released a special edition of their album Send Away the Tigers on 12 May. 2017 marks the 10th anniversary of the record and the Manics said that "this is a very important album" in their career. The special edition featured a remastered album as well as b-sides and rarities spread over two discs, plus a DVD which features the band's 2007 Glastonbury performance, rehearsal footage, an album track-by-track, and promo videos. On 17 November 2017, the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018. After much delay, the band wrote "The main themes of 'Resistance is Futile' are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration," the band say in a statement. "It's obsessively melodic - in many ways referencing both the naive energy of 'Generation Terrorists' and the orchestral sweep of 'Everything Must Go'. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work." It is the first album to be recorded at the "Door to The River" new studio. In January 2018, Manic Street Preachers signed a new publishing contract with Warner/Chappell Music, leaving their longtime home Sony/ATV Music Publishing. On the new album the Manics launched their first single "International Blue" as a download on 8 December 2017. The second single "Distant Colours" was released also as a download on 16 February 2018. About the first single the band said that there's was certain naive energy and widescreen melancholia on the song that is reflected through the whole album, comparing it to Motorcycle Emptiness. Furthermore the album focused on "(...)things that make your life feel a little bit better. Rather than my internalised misery, I tried to put a sense of optimism into the lyrics by writing about things that we find really inspiring." Said Wire, taking inspiration from David Bowie and seen as almost an escape and a wave of optimism, just like the previoous album was described. On the other hand "Distant Colours" was written by James Dean Bradfield, rather than Nicky Wire, and inspired by disenchantment and Nye Bevan's old Labour. He said: "Musically, the verse is downcast and melancholic and the chorus is an explosion of disillusionment and tears." The third single "Dylan & Caitlin" was released as a download on 9 March 2018. CANNOTANSWER	the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018.	Manic Street Preachers, also known as the Manics, are a Welsh rock band formed in Blackwood in 1986. The band consists of cousins James Dean Bradfield (lead vocals, lead guitar) and Sean Moore (drums, percussion, soundscapes), plus Nicky Wire (bass guitar, lyrics). They form a key part of the 1990s Welsh Cool Cymru cultural movement. Following the release of their debut single "Suicide Alley", Manic Street Preachers were joined by Richey Edwards as co-lyricist and rhythm guitarist. The band's early albums were in a punk vein, eventually broadening to a greater alternative rock sound, whilst retaining a leftist political outlook. Their early combination of androgynous glam imagery and lyrics about "culture, alienation, boredom and despair" gained them a loyal following. Manic Street Preachers released their debut album, Generation Terrorists, in February 1992, followed by Gold Against The Soul in 1993 and The Holy Bible in 1994. Edwards disappeared in February 1995 and was legally presumed dead in 2008. The band achieved commercial success with the albums Everything Must Go (1996) and This Is My Truth Tell Me Yours (1998). The Manics have headlined festivals including Glastonbury, T in the Park, V Festival and Reading. They have won eleven NME Awards, eight Q Awards and four BRIT Awards. They were nominated for the Mercury Prize in 1996 and 1999, and have had one nomination for the MTV Europe Music Awards. They have reached number 1 in the UK charts four times: in 1998, with This Is My Truth Tell Me Yours and the single "If You Tolerate This Your Children Will Be Next", in 2000 with the single "The Masses Against the Classes", and in 2021 with The Ultra Vivid Lament. They have sold more than ten million albums worldwide. History Formation and early years (1986–1991) Manic Street Preachers formed in 1986 at Oakdale Comprehensive School, Blackwood, South Wales, which all the band members attended. Bradfield and the slightly older Moore are cousins and shared bunk beds in the Bradfield family home after Moore's parents divorced. During the band's early years, Bradfield, alongside the classically trained Moore, primarily wrote the music while Wire focused on the lyrics. The origin of the band's name remains unclear, but the most often-told story relates that Bradfield while busking one day in Cardiff, got into an altercation with someone (sometimes said to be a homeless man) who asked him "What are you, boyo, some kind of manic street preacher?" Original bassist Flicker (Miles Woodward) left the band in early 1988, reportedly because he believed that the band were moving away from their punk roots. The band continued as a three-piece, with Wire switching from guitar to bass, and in 1988 they released their first single, "Suicide Alley". Despite its recording quality, this punk ode to youthful escape provides an early insight into both Bradfield's guitar work and Moore's live drumming, the latter of which would be absent from the band's first LP. The Manics intended to restore revolution to rock and roll at a time when Britain was dominated by shoegaze and acid house. The NME gave "Suicide Alley" an enthusiastic review, citing a press release by Richey Edwards: "We are as far away from anything in the '80s as possible." After the release of "Suicide Alley," Edwards joined the band on rhythm guitar and contributed to lyrics alongside Wire. Edwards also designed record sleeves and artwork and drove the band to and from gigs. In 1990 the Manic Street Preachers signed a deal with label Damaged Goods Records for one EP. The four-track New Art Riot E.P. attracted as much media interest for its attacks on fellow musicians as for the actual music. With the help of Hall or Nothing management, the Manics signed to indie label Heavenly Records. The band recorded their first single for the label, entitled "Motown Junk". Their next single, "You Love Us", sampled Krzysztof Penderecki's "Threnody to the Victims of Hiroshima" as well as Iggy Pop. The video featured Nicky Wire in drag as Marilyn Monroe and contained visual references to the film Betty Blue and to Aleister Crowley. In an interview with then-NME journalist Steve Lamacq, Edwards carved the phrase "4REAL" into his arm with a razor blade to prove their sincerity. He was taken to hospital and received seventeen stitches. NME subsequently ran a full-page story on the incident, including a phone interview with Richey on his motivations for doing it. A recording of the editorial meeting discussing whether or not they could publish the image was included as a b-side on the band's 1992 charity single Theme from M.A.S.H. (Suicide Is Painless), featuring Lamacq, the then-editor of NME Danny Kelly and James Brown (who went on to edit Loaded and the British version of GQ). As a result of their controversial behaviour, the Manics quickly became favourites of the British music press, which helped them build a rabidly dedicated following. Columbia Records of Sony Music UK signed the band shortly afterwards and they began work on their debut album. Richey Edwards era: Generation Terrorists to The Holy Bible (1992–1995) The band's debut album, Generation Terrorists, was released in 1992 on the Columbia Records imprint. The liner notes contained a literary quote for each of the album's eighteen songs and the album lasted just over seventy minutes. The album's lyrics are politicised like those of the Clash and Public Enemy, with the album's songs regularly switching from a critical focus on global capitalism to more personal tales of despair and the struggles of youth. About the musical style of the album Pitchfork writer Joe Tangari wrote that Generation Terrorists "walked a weird line between agit-punk, cock rock, romantic melodicism and glam, and was so obviously patterned after the Clash's London Calling that it was actually kind of cute." Other tracks combine personal and political themes, implicating a connection between global capitalism and personal struggle; "Nat West-Barclays-Midlands-Lloyds" was written as a critique of overseas banking credit policies, but also concerned Richey Edwards' issues involving overdrafts and refused loans. Marc Burrows of Drowned in Sound considered the song to be an accurate prediction of "global financial meltdown" and its effects on everyday life. The single "Motorcycle Emptiness", meanwhile, criticises consumerism as a "shallow dream" that makes human life overtly commercialised. "Little Baby Nothing", a duet between Traci Lords and Bradfield, was described by Priya Elan of the NME as a "perfect snapshot of [female] innocence bodysnatched and twisted". The record contained six singles and sold 250,000 copies. The success of 1996's Everything Must Go at the 1997 Brit Awards ensured that sales of Generation Terrorists and subsequent albums Gold Against the Soul and The Holy Bible enjoyed a late surge; the band's debut sold an extra 110,000 copies. The band also made a cover version of the song "Suicide Is Painless" which peaked at number 7 in the UK charts, spending 3 weeks in the Top 10, and giving the band their first ever Top 10 hit single. The group's second album, Gold Against the Soul, displayed a more commercial, grungy sound which served to alienate both fans and the band itself. It was released to mixed reviews but still performed well, reaching number eight in the UK album chart. The album presents a different sound from their debut album, not only in terms of lyrics but in sound, the band privileged long guitar riffs, and the drums themselves feel more present and loud in the final mix of the album. This sound would be abandoned in their next album and as for the nature of the lyrics they also changed, with Edwards and Wire eschewing their political fire for introspective melancholy. According to AllMusic, the album "takes the hard rock inclinations of Generation Terrorists to an extreme." The band also stated that the choice to work with Dave Eringa again was important for this album: "We finished work in November and then just went straight into a demo studio and we came out about four weeks later with the album all finished. We were all happy with all the songs, we knew what they wanted to sound like, so we didn't want to use a mainstream producer because they've got their own sound and vision of what a record should be like. So we just phoned Dave up and said 'Look, come down, let's see how this works out', and everyone loved what we were doing, so we decided to stay with him." The band have described Gold Against the Soul as their least favourite album and the period surrounding the album as being the most unfocused of their career. The band's vocalist and guitarist James Dean Bradfield has said "All we wanted to do was go under the corporate wing. We thought we could ignore it but you do get affected." By early 1994, Edwards' difficulties became worse and began to affect the other band members as well as himself. He was admitted into The Priory in 1994 to overcome his problems and the band played a few festivals as a three-piece to pay for his treatment. The group's next album, The Holy Bible, was released in August to critical acclaim, but sold poorly. The album displayed yet another musical and aesthetic change for the band, largely featuring army/navy uniforms. Musically, The Holy Bible marks a shift from the modern rock sound of their first two albums, Generation Terrorists and Gold Against the Soul. In addition to the album's alternative rock sound the album incorporates various elements from other musical genres, such as hard rock, British punk, post-punk, new wave, industrial, art rock and gothic rock. Lyrically the album deals with subjects including prostitution, American consumerism, British imperialism, freedom of speech, the Holocaust, self-starvation, serial killers, the death penalty, political revolution, childhood, fascism and suicide. According to Q: "the tone of the album is by turns bleak, angry and resigned". There was also an element of autobiographic subjects, like in the song "4st 7lb" where the lyrics clearly tackle Richey's own experience and life. The song was named after 4 stones 7 pounds, or , because it is the weight below which death is said to be medically unavoidable for an anorexic sufferer. The title "The Holy Bible" was chosen by Edwards to reflect an idea, according to Bradfield, that "everything on there has to be perfection". Interviewed at the end of 1994, Edwards said: "The way religions choose to speak their truth to the public has always been to beat them down [...] I think that if a Holy Bible is true, it should be about the way the world is and that's what I think my lyrics are about. [The album] doesn't pretend things don't exist". Ben Patashnik of Drowned in Sound later said that the album in the time of its release "didn't sell very well, but its impact was felt keenly by anyone who'd ever come into contact with the Manics", and that it is now a "masterpiece [...] the sound of one man in a close-knit group of friends slowly disintegrating and using his own anguish to create some of the most brilliant art to be released on a large scale as music in years [...] It's not a suicide note; it's a warning." In support of the album the band appeared on Top of the Pops, performing its first single, "Faster", which reached No. 16. The performance was extremely controversial at the time, as the band were all dressed in army regalia. Bradfield wore a "terrorist-style" balaclava. At the time, the band was told by the BBC that they had received the most complaints ever. The album eventually has sold over 600,000 copies worldwide and is frequently listed among the greatest records ever recorded. In April and May 1994 the band first performed songs from The Holy Bible at concerts in Thailand and Portugal and at a benefit concert for the Anti-Nazi League at Brockwell Park, London. In June, they played the Glastonbury Festival. In July and August, without Richey Edwards, they played T in the Park in Scotland, the Alte Wartesaal in Cologne, the Parkpop Festival in The Hague and the Reading Festival. During September, October and December there was a headline tour of the UK and Ireland and two tours in mainland Europe with Suede and Therapy?. In December, three nights at the London Astoria ended with the band smashing up their equipment and the venue's lighting rig, causing £26,000 worth of damage. Edwards disappeared on 1 February 1995, on the day when he and James Dean Bradfield were due to fly to the US on a promotional tour. In the two weeks before his disappearance, Edwards withdrew £200 a day from his bank account, which totalled £2,800 by the day of the scheduled flight. He checked out of the Embassy Hotel in Bayswater Road, London, at seven in the morning, and then drove to his apartment in Cardiff, Wales. In the two weeks that followed he was apparently spotted in the Newport passport office, and the Newport bus station. On 7 February, a taxi driver from Newport supposedly picked up Edwards from the King's Hotel in Newport, and drove him around the valleys, including Blackwood (Edwards' home as a child). The passenger got off at the Severn View service station near Aust and paid the £68 fare in cash. On 14 February, Edwards' Vauxhall Cavalier received a parking ticket at the Severn View service station and on 17 February, the vehicle was reported as abandoned. Police discovered the battery to be flat, with evidence that the car had been lived in. Due to the service station's proximity to the Severn Bridge (which has been a renowned suicide location in the past) it was widely believed that he took his own life by jumping from the bridge. Many people who knew him, however, have said that he was never the type to contemplate suicide and he was quoted in 1994 as saying "In terms of the 'S' word, that does not enter my mind. And it never has done, in terms of an attempt. Because I am stronger than that. I might be a weak person, but I can take pain." Since then he has reportedly been spotted in a market in Goa, India, and on the islands of Fuerteventura and Lanzarote. There have been other alleged sightings of Edwards, especially in the years immediately following his disappearance. However, none of these has proved conclusive and none has been confirmed by investigators. He has not been seen since. Manic Street Preachers was put on hold for six months and disbanding the group was seriously considered, but with the blessing of Edwards' family, the other members continued. Edwards was legally "presumed dead" in 2008, to enable his parents to administer his estate. The band continue to set up a microphone for Edwards at every live performance. Everything Must Go to Lifeblood (1996–2006) The first album without Edwards, Everything Must Go, was released on 20 May 1996. The band had chosen to work with new producer Mike Hedges, mainly for his work on Siouxsie and the Banshees' single "Swimming Horses" that Bradfield rated highly. Hedges had already been approached before to produce The Holy Bible but he wasn't available at the time. Everything Must Go debuted on the UK Albums Chart at number 2, so far the album has gone Triple Platinum in the UK and is their most successful album to date, spending 103 weeks in the Top 100 with the album still in the Top 5 a year after its release. Containing five songs either written or co-written by Edwards the album was released to overwhelmingly positive reviews. Lyrically the themes were different from their previous effort, instead of introspective and autobiographical tracks such as "4st 7lb", Wire's predilection for historical and political themes dominates, like the No. 2 hit single "A Design for Life". The song was the first to be written and released by the band following the mysterious disappearance of figurehead Richey Edwards the previous year and was used as the opening track on Forever Delayed, the band's greatest hits album released in November 2002. James Dean Bradfield later recalled that the lyric had been a fusion of two sets of lyrics-"Design for Life" and "Pure Motive"-sent to him from Wales by bassist Nicky Wire, while he was living in Shepherd's Bush. The music was written "in about ten minutes" and Bradfield felt a sense of euphoria with the result. The song was credited with having "rescued the band" from the despair felt after the disappearance of Edwards, with Wire describing the song as "a bolt of light from a severely dark place". The album was shortlisted for the 1996 Mercury Prize award for best album and won the band two Brit Awards for Best British Band and Best British Album, as well as yielding the hit singles "Australia", "Everything Must Go" and "Kevin Carter". Subjects tackled on the album include the tragic life of the photographer Kevin Carter, on the track of the same name, Willem de Kooning and the maltreatment of animals in captivity on "Small Black Flowers That Grow in the Sky" (which is a quote from the film The Best Years of Our Lives). The latter track, with lyrics by Edwards, can also be interpreted as an exploration of his mental state before his disappearance; the line "Here chewing your tail is joy" for instance may be as much about Richey's self-harm as it is the tormented self-injury of zoo animals. It was their most direct and mature record to date and it established the Manics as superstars throughout the world. The album has sold over two million copies around the world, and it is still considered one of the finest releases of the decade, a classic album from the 1990s and frequently voted in polls in the category of best albums of all time by many publications. In 1997 the band performed a special gig at the Manchester Arena for more than 20,000 people. Bassist Nicky Wire said that was the moment he knew that the band had "made it". The recording was released as a VHS video on 29 September 1997 and has only been reissued on DVD in Japan. This Is My Truth Tell Me Yours (1998) was the first number 1 of the band in the UK, remaining at the top of the albums chart for 3 weeks, selling 136,000 copies in the first week and spending a total of 74 weeks in the Album Chart. The title is a quotation taken from a speech given by Aneurin Bevan, a Labour Party politician from Wales. Its working title was simply Manic Street Preachers. The cover photograph was taken on Black Rock Sands near Porthmadog, Wales. Around the world the album also peaked at number 1 in countries like Sweden and Ireland, and it sold over five million copies worldwide. With their fifth album, the group also had a No. 1 single, "If You Tolerate This Your Children Will Be Next". The song's theme is taken from the Spanish Civil War, and the idealism of Welsh volunteers who joined the left-wing International Brigades fighting for the Spanish Republic against Francisco Franco's military rebels. The song takes its name from a Republican poster of the time, displaying a photograph of a young child killed by the Nationalists under a sky of bombers with the stark warning "If you tolerate this, your children will be next" written at the bottom. The song is in the Guinness World Records as the number one single with the longest title without brackets. The album also included the hit singles "You Stole the Sun from My Heart", "Tsunami" and "The Everlasting". The Manics won Best British Band and Album awards at the BRIT Awards in 1999. This Is My Truth Tell Me Yours was also shortlisted for the 1999 Mercury Prize and the band received a further nomination in the category of Best UK & Ireland Act in the 1999 MTV Europe Music Awards, where the band performed live the single If You Tolerate This Your Children Will Be Next. In the NME Awards in 1999, the band won every single big prize, Best Band, Best Album, Best Live Act, Best Single and Best Video, nailing also the prize for Best Band in the World Today in the Q Awards 1998. After headlining Glastonbury Festival, T in the Park and V Festival, the band played the Leaving the 20th Century concert at the Millennium Stadium in Cardiff on 31 December 1999, the first concert to be held there, with 57,000 people attending and the final song being broadcast around the world by satellite as part of 2000 Today. The concert is available on VHS and DVD. Subtitled English lyrics, available as an extra, contain errors when compared to the official lyrics in the band's album booklets and in between some of the tracks there are interview clips where the band discusses their history and the songs. In 2000, they released the limited edition single "The Masses Against the Classes". Despite receiving little promotion, the single sold 76,000 copies in its first week and reached number one in the UK Singles Chart on 16 January 2000, beating "U Know What's Up" by Donell Jones to the top. The catalogue entry for the single was deleted (removed from wholesale supply) on the day of release, but the song nevertheless spent 9 weeks in the UK chart. In 2001, they became the first popular Western rock band to play in Cuba (at the Karl Marx Theater) and met with President Fidel Castro. Their concert and trip to Cuba was documented and then released as a DVD entitled Louder Than War. At this concert, they revealed many tracks from their upcoming sixth album, Know Your Enemy, which was released on 19 March. The left-wing political convictions of the Manic Street Preachers are apparent in many of the album's songs, such as "Baby Elián" as they comment on the strained relations between the United States and Cuba as seen in the Elián González affair, a hot topic around the album's release. The band also pays tribute to singer and civil rights activist Paul Robeson in the song "Let Robeson Sing", but the song "Ocean Spray", which was a single, was written entirely by James about his mother's battle with cancer. The first singles from the album, "So Why So Sad" and "Found That Soul", were both released on the same day. The final single "Let Robeson Sing" was released later. The Manics also headlined Reading and Leeds Festival. The greatest hits (plus remixes) album Forever Delayed was released in 2002, containing two new songs, "Door to the River" and the single "There by the Grace of God". Several songs were edited for length ("Motorcycle Emptiness," "You Love Us", "Australia," "Everything Must Go," "Little Baby Nothing," and "The Everlasting") so that more tracks could fit onto the CD (though not listed as edits in the liner notes). The Forever Delayed DVD was released in 2002 together with the greatest hits CD and photo book that bear the same name, and features all the promo music videos from the start of the band's career released before the DVD. Along with the promo videos, there is a selection of 14 remix videos, where the visual material is taken from clips of the other promo videos as well as backdrop visuals from the band's live concerts. The album peaked and debuted on the UK Albums Chart at #4. An album of B-sides, rarities, and cover versions was released in 2003 entitled Lipstick Traces (A Secret History of Manic Street Preachers), which contains the last song the band worked on with Edwards. The album received a far more positive reception from fans than the Forever Delayed greatest hits album, which was heavily criticised for favouring the band's more commercially successful singles. The only recurring criticism of Lipstick Traces was the exclusion of the fan favourite "Patrick Bateman", from the "La Tristesse Durera (Scream to a Sigh)" single. The band explained that it was excluded mainly because it was almost seven minutes long and simply would not fit on the album. The band's seventh studio album, Lifeblood, was released on 1 November 2004 and reached No. 13 on the UK album chart. Critical response to the album was mixed. The album was more introspective and more focused on the past, Wire talked about the ghosts that haunted this record and stated that the record was a retrospective: "The main themes are death and solitude and ghosts. Being haunted by history and being haunted by your own past. Sleep is beautiful for me. I hate dreaming because it ruins ten hours of bliss. I had a lot of bad dreams when Richey first disappeared. Not ugly dreams, but nagging things. Until we wrote 'Design for Life', it was six months of misery. Lifeblood doesn't seek to exorcise Edwards' ghost, though, just admits that there are no answers". Tony Visconti helped the band produce three songs on the album, which was followed by a UK arena tour in December 2004. "Empty Souls" and "The Love of Richard Nixon" were the two singles released from the album, both reaching No. 2 in the UK. A tenth-anniversary edition of The Holy Bible was released on 6 December 2004, which included a digitally remastered version of the original album, a rare U.S. mix (which the band themselves have admitted to preferring to the original UK mix) and a DVD of live performances and extras including a band interview. In April 2005, the band played several shows as the Past-Present-Future tour—announced as their last for at least two years. The band released an EP entitled God Save the Manics with only a limited number of copies available and given out to fans as they arrived at the venue. After all the copies were gone, the band made the EP available as a free download on their website. In September, the band contributed the new track "Leviathan" to the War Child charity album Help!: A Day in the Life. In 2006 the band received the prize for the Q Merit Award in the Q Awards 2006 and also the 10th-anniversary edition of Everything Must Go was released on 6 November. It included the original album, demos, B-sides, remixes, rehearsals and alternate takes of the album's songs, spread out over two CDs. An additional DVD, featuring music videos, live performances, TV appearances, a 45-minute documentary on the making of the album, and two films by Patrick Jones, completed the three-disc set. In the 10th-anniversary edition, the band itself claims that they're still fond of the record, and Wire goes further saying: "I think it's our best record, I am not afraid to say that." Send Away the Tigers to National Treasures (2007–2012) The band's eighth studio album, Send Away the Tigers, was released on 7 May 2007 on Columbia Records. It entered the official UK album charts at No. 2. Critical response to the album was largely positive, with some critics hailing the album as the band's best in a decade. A free download of a song entitled "Underdogs" from the album was made available through the group's website on 19 March 2007. The first official single released from Send Away the Tigers was "Your Love Alone Is Not Enough", which features Cardigans vocalist Nina Persson and according to the band they always had a duet in mind, seeing that the lyrics have a question/reply style to it. According to singer Bradfield, the title was the last line of a suicide note left by the friend of someone close to the group. The second single, "Autumnsong", and a third, "Indian Summer", were released in August. "Indian Summer" peaked at number 22, making it the first Manics single not to chart in the Top 20 since 1994's "She Is Suffering". The album sleeve features a quotation from Wyndham Lewis: "When a man is young, he is usually a revolutionary of some kind. So here I am, speaking of my revolution". The band ended up promoting the album with appearances in the summer festivals like Reading and Leeds Festivals and Glastonbury Festival. The band released a Christmas single, "The Ghosts of Christmas", in December. The track was available as a free download on their official website throughout December 2007 and January 2008. In February 2008, the band were presented with the God-Like Geniuses Award at the NME Awards ceremony. The ninth Manics album, Journal for Plague Lovers, was released on 18 May 2009 and features lyrics left behind by Edwards. Wire commented in an interview that "there was a sense of responsibility to do his words justice." The album was released to positive critical reviews and reached No. 3 on the UK Album Chart. However, the cover of the album generated some controversy, with the top four UK supermarkets stocking the CD in a plain slipcase, as the cover was deemed "inappropriate". Bradfield regarded the decision as "utterly bizarre", and has commented: "You can have lovely shiny buttocks and guns everywhere in the supermarket on covers of magazines and CDs, but you show a piece of art and people just freak out." Several tracks refer to Edwards' time in a couple of hospitals in 1994. Among them is "She Bathed Herself in a Bath of Bleach", of which James Dean Bradfield said to the NME: "There're some people he met when he was in one of the two places having treatment and I think he just digested other people's stories and experiences." The final track, "William's Last Words", has been compared to a suicide note, and although Nicky Wire rejects this suggestion, Bradfield observes, "you can draw some pretty obvious conclusions from the lyrics." Wire, who admitted finding the task of editing this song "pretty choking", eventually composed the music and sang lead vocals after Bradfield found himself unsuited to the task. Bradfield commented that Journal for Plague Lovers was an attempt to finally secure the legacy of their former member Richey Edwards and the result was that, during the recording process, it was as close to feeling his presence since his disappearance: "There was a sense of responsibility to do his words justice. That was part of the whole thing of letting enough time lapse. Once we actually got into the studio, it almost felt as if we were a full band; it [was] as close to him being in the room again as possible." Tracks from Journal for Plague Lovers have been remixed by a number of artists, and the Journal for Plague Lovers Remixes EP was released on 15 June 2009. Martin Noble of the band British Sea Power remixed the song "Me and Stephen Hawking"; Andrew Weatherall remixed "Peeled Apples", which he has described as "sounding like Charlie Watts playing with PiL"; The Horrors remixed "Doors Closing Slowly"; NYPC remixed the song "Marlon J.D" and the EP also features remixes by Patrick Wolf, Underworld, Four Tet, Errors, Adem, Optimo and Fuck Buttons. On 18 June 2009, the Manics officially opened the new Cardiff Central Library. Wire later said in an interview with The Guardian that the occasion had been a great honour for the band: On 1 June 2010, the band announced on their homepage that a new album called Postcards from a Young Man would be released on 20 September. James Dean Bradfield said that the album would be an unashamedly pop-orientated affair, following 2009's Journal for Plague Lovers. "We're going for big radio hits on this one", he told NME. "It isn't a follow-up to Journal for Plague Lovers. It's one last shot at mass communication." On 26 July, the first single from the new album, "(It's Not War) Just the End of Love", was played on the breakfast shows of BBC Radio 2, BBC 6Music, XFm and Absolute Radio. It was released on 13 September. The title had previously been suggested as a working title for the album by Nicky Wire. Three collaborations were also confirmed on the band's website later that day: Duff McKagan would appear on "A Billion Balconies Facing the Sun", Ian McCulloch will add guest vocals to "Some Kind of Nothingness" and John Cale will feature on "Auto-Intoxication". Of the album's lead single, "(It's Not War) Just the End of Love," Nicky Wire claimed: "I believe in the tactile nature of rock 'n' roll. There's a generation missing out on what music meant to us...You can only elaborate on the stuff that compels you to. But "It's Not War..." is kind of saying, "Alright, we're not 18, but even at 40 the rage is still there". Postcards from a Young Man was recorded with producer (and longtime Manics collaborator) Dave Eringa and was mixed in America by Chris Lord-Alge. It was released in a standard version, 2 CD deluxe version, and limited edition box set. The album cover art uses a black and white photograph of British actor Tim Roth. The album was supported by the Manics' most extensive tour of the UK to date, starting in Glasgow on 29 September 2010. British Sea Power were the support act for the band on the tour. Two further singles were released from the album—the McCulloch-featuring "Some Kind of Nothingness" and the title track "Postcards from a Young Man". "Some Kind of Nothingness" peaked at No. 44 in the UK making it the first-ever Manics single to not make the Top 40 since they signed to Sony in 1991. The band initially announced that their next album had the working title 70 Songs of Hatred and Failure and would sound very different from Postcards From A Young Man: "The next album will be pure indulgence. There's only so much melody stored in your body that you can physically get onto one record. It was just so utterly commercial and melodic." However, Nicky Wire contradicted this in 2011 while doing promotion for their greatest hits compilation National Treasures. When asked why the band was releasing the compilation Wire stated: "It's just the end of an era. Not the end of a band. We're gonna disappear for quite a long time." National Treasures – The Complete Singles was released on 31 October 2011, preceded by the release of the single "This Is the Day", a cover of the song by The The. On 17 December 2011, the group performed 'A Night of National Treasures' at O2 Arena in London to celebrate the band's 25 years to date, and enter into a period of hiatus where the eleventh album was written. The band performed all 38 singles, with around 20,000 people in attendance, as well as guest performers including Nina Persson from the Cardigans who sings with the band on the single "Your Love Alone Is Not Enough" and Gruff Rhys from Super Furry Animals who sang with the band that night on the track Let Robeson Sing. In April and May 2012, the band embarked on a European greatest hits tour. The compilation was voted by NME magazine as the best re issue of 2011, beating Nirvana's deluxe and super deluxe edition of Nevermind to the top spot. Despite the "complete singles" title, National Treasures does not contain every Manic Street Preachers single. Notable omissions are the band's very first single, "Suicide Alley" (1989), "Strip It Down" from the New Art Riot EP (1990), for which the band's first promotional video was made, and "You Love Us (Heavenly Version)" (1991). For singles originally released as double-A sides, only one song is included: therefore from "Love's Sweet Exile/Repeat" (1992) and "Faster/P.C.P." (1994), only the first of each pair are included. On 10 October the band announced via Facebook that a film-interview-documentary about their album Generation Terrorists would be screened at 2012's Festival as a Welsh exclusive. The film was shown at Chapter Arts Centre on Saturday 20 October, with all profits being donated to Young Promoters Network. The film was made available in the 20th-anniversary re-issue of Generation Terrorists, of which there were five editions: Single Disc edition: Original Album 2 Disc Deluxe edition: Includes Original Album + Demos with DVD of Culture, Alienation, Boredom, Despair (A making of the album) 4 Disc Limited edition (3,000 copies worldwide): Includes Original Album, Demos, B-Sides, Rarities, CABD DVD + Replica of Generation Terrorist Tour VIP Pass, 10" Collage by Richey Edwards, 10" Vinyl LP of a rare Manics Radio Performance and a 28-page book from Nicky Wire's archive. Also, if the Deluxe edition was purchased from the London record store "Rough Trade", then alongside the £20 purchase came a free ticket to see a showing of the CABD film, followed by an acoustic gig with James Dean Bradfield on 6 November. Rewind the Film to The Ultra Vivid Lament (2013–present) In May 2013, the band announced an Australasian tour for June and July, that would see them play their first-ever show in New Zealand. This tour coincided with the British and Irish Lions rugby tour to Australia and the Melbourne concert on the eve of the 2nd Test featured Lions' centre Jamie Roberts as a guest guitarist on "You Love Us". In May 2013 the Manics released information about their most recent recording sessions, saying that they had enough material for two albums; the first would be almost exclusively without electric guitars. The name of the first album and title track was revealed to be Rewind the Film on 8 July. In a statement, the band announced, "(If) this record has a relation in the Manics back catalogue, it's probably the sedate coming of age that was This Is My Truth Tell Me Yours." The band also stated via Twitter, "MSP were in the great Hansa Studios in January with Alex Silva (who recorded The Holy Bible with us). Berlin was inspirational... Sean been playing a french horn in the studio today—sounding wonderful." The lead single of the album, "Show Me the Wonder", was referred to on their Twitter account, the Manics posted, "I think 'show me the wonder' is the 1st ever manics single without JDBs electric guitar on-xx." The single was released on 9 September 2013 to a positive critical reception. The album itself was released on 16 September 2013 and reached No. 4 on the UK Album Chart. The second single of the album "Anthem for a Lost Cause" was released on 25 November 2013. The other album, Futurology, the band's twelfth studio album, was released on 7 July 2014 and it received immediate critical acclaim. The lead single from the album, "Walk Me to the Bridge", was released as a digital download on the day of the announcement, on 28 April. Futurology, according to the band, is an album full of ideas and one of their most optimistic yet, as Wire said to the NME magazine in an interview: "There's an overriding concept behind 'Futurology' which is to express all the inspiration we get from travel, music and art—all those ideas, do that in a positive way. 'Rewind The Film' was a harrowing 45-year-old looking in the mirror, lyrically. 'Futurology' was very much an album of ideas. It's one of our most optimistic records, the idea that any kind of art can transport you to a different universe." The album sold about 20,000 copies in its first week and reached No. 2 on the UK Albums Chart. The title track, "Futurology", was the second and final single released from the album on 22 September, the video debuted on YouTube on 10 August. The video was directed by the British Academy of Film and Television Arts winner Kieran Evans, who worked with the band on videos from their previous effort Rewind The Film. The band promoted the album with a tour around the UK and Europe from March to May 2014, they also made appearances in festivals like T in the Park in Scotland and Glastonbury Festival in the summer. Late in 2014, the band celebrated the release of their seminal album The Holy Bible with a special edition in December, commemorating the 20th anniversary of the album. This edition includes the vinyl edition of the full album, plus a three-CD set, the first CD with the full album remastered for the special release, the second with the US mix remastered and the third including a performance at the Astoria in 1994 and an acoustic session for Radio 4 Mastertapes in 2014. The special edition also contains a 40-page book full of rare photos and handwritten lyrics and notes by Richey and by the band. In the NME Awards 2015, the album won "Reissue of the Year". They also toured the album, playing it in full for the very first time. After the tour in the UK, the Manics took The Holy Bible tour to North America, in April 2015, they played in Washington DC, Toronto, New York, Boston, San Francisco, Los Angeles and Chicago. They also played in the Cardiff Castle on 5 June 2015 with 10,000 fans attending the gig, it was broadcast nationwide by BBC Two Wales. In August 2015 the Manic Street Preachers nailed the 2 top spots on the best NME covers of all time, as voted by the general public. James Dean Bradfield and Sean Moore in November 2015 did a charity hike in Patagonia, Nicky Wire did not participate in the event, the band said: "In November 2015 we will be walking in the footsteps of our Welsh ancestors when we will be part of the Velindre group of 50 people celebrating the 150th anniversary of Welsh settlers arriving in Patagonia with a challenging six-day trek." Also in November 2015, the Manic Street Preachers announced that they were going to celebrate the 20th anniversary of their 1996 album Everything Must Go, with their biggest headline show since 1999, in the Liberty Stadium, in Swansea on 28 May 2016, featuring special guests like Super Furry Animals. The album was performed in full, with Nicky Wire teasing "b-sides, rarities and curios, greatest hits and a few brand-new songs". Before the final show in Swansea the band played: Liverpool, Echo Arena (13 May), Birmingham, Genting Arena (14 May), London, Royal Albert Hall (16–17 May), Leeds, First Direct Arena (20 May) and Glasgow, the SSE Hydro (21 May). In early 2016 the band announced the European tour of "Everything Must Go", they played across Europe, in Finland, Denmark, the Netherlands and Germany. Similar to what happened with "The Holy Bible" the Manics released on 20 May, a special anniversary edition for the album, which includes the full album remastered plus the B-sides, a heavyweight vinyl, the 1997 Nynex concert fully restored on DVD, a film about the making of the album, the official videos for the all singles and a 40-page booklet. It was also made available a standard edition with a double-CD featuring only the remastered album and the concert at the Nynex Arena. The band announced in March 2016 that they would be releasing a theme song for the Wales national team ahead of the UEFA Euro 2016 tournament in the summer, entitled "Together Stronger (C'mon Wales)", it was released on 20 May, featuring also a video with the band and the Welsh team, the Manics tweeted: "It's with great pride we can announce the Manics are providing the official Wales Euro 2016 song – 'Together Stronger (C'mon Wales)'". All profits from the song went to the Princes Gate Trust and Tenovus Cancer Care. On 8 July the band was at the Cardiff City Stadium to give a home welcome to the Wales football national team after they were knocked out of the UEFA Euro 2016 by Portugal in the semi-finals, the band played a few songs in the stadium including the official theme song "Together Stronger (C'mon Wales)". On the next night, 9 July, the Manics headlined a night at the Cornwall's Eden Project, and later the band managed to secure a new recording studio near Newport, Wales. The city's council ensured that only the band can use the studio, there would be an increase on-site parking and a series of soundproofing measures to ensure nearby properties aren't disturbed by noise. To end the summer, the Manics went on to headline another two festivals, Wasa Open Air in Finland in mid-August and in late August the Victorious Festival in Portsmouth. The band also received a nomination in the 25th British Academy Cymru Awards for the best live outside broadcast after their 2015 gig in the Cardiff Castle, celebrating the 20th anniversary of the "Holy Bible". In February 2017 the band revealed a teaser trailer for a documentary entitled Escape from History, charting the band's journey from The Holy Bible, through to the disappearance of lyricist and guitarist Richey Edwards, to the huge success of Everything Must Go. The documentary aired on Sky Arts on 15 April. The band also stated that they would release an album later in that year. The band released a special edition of their album Send Away the Tigers on 12 May. 2017 marks the 10th anniversary of the record and the Manics said that "this is a very important album" in their career. The special edition featured a remastered album as well as B-sides and rarities spread over two discs, plus a DVD which features the band's 2007 Glastonbury performance, rehearsal footage, an album track-by-track, and promo videos. On 17 November 2017, the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018. After much delay, the band wrote "The main themes of 'Resistance is Futile' are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration", the band say in a statement. "It's obsessively melodic—in many ways referencing both the naive energy of 'Generation Terrorists' and the orchestral sweep of 'Everything Must Go'. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work." It is the first album to be recorded at the "Door to the River" studio. In January 2018, Manic Street Preachers signed a publishing contract with Warner/Chappell Music, leaving their longtime home Sony/ATV Music Publishing. On the album, the Manics launched their first single "International Blue" as a download on 8 December 2017. The second single "Distant Colours" was released, also as a download, on 16 February 2018. About the first single the band said that there's was certain naive energy and widescreen melancholia on the song that is reflected through the whole album, comparing it to Motorcycle Emptiness. Furthermore, the album focused on "(...)things that make your life feel a little bit better. Rather than my internalised misery, I tried to put a sense of optimism into the lyrics by writing about things that we find really inspiring." Said Wire, taking inspiration from David Bowie and seen as almost an escape and a wave of optimism, just like the previous album was described. On the other hand, "Distant Colours" was written by James Dean Bradfield, rather than Nicky Wire, and inspired by disenchantment and Nye Bevan's old Labour. He said: "Musically, the verse is downcast and melancholic and the chorus is an explosion of disillusionment and tears." The third single "Dylan & Caitlin" was released as a download on 9 March 2018. The fourth single "Liverpool Revisited" is about a magical day in the city, Nicky added that: "It was on the Everything Must Go (anniversary) tour and I got up really early at sunrise to walk around Liverpool, polaroid camera in hand on a balmy day. It sounds clichéd I know, but Liverpool in the sun does take on a hypnotic quality, with the Mersey and the stone." The band also revealed that they were to support Guns N' Roses during their summer tour. The fifth and final single, "Hold Me Like a Heaven", was released as a download on 4 May 2018. Wire said that the song was inspired musically by David Bowie's Ashes to Ashes, something that the band wanted to write about, and Nicky thinks that this the closest that the band is going to get, sharing also that lyrics were informed by the work of Philip Larkin. The album sold around 24,000 copies in the first week, entering the UK Albums Chart at number 2, despite being number 1 during the week. It was the highest new entry on the chart, and on physical sales the album peaked at number 1, both on CD and vinyl. In October 2018, the band announced a twentieth-anniversary collector's edition re-release of This Is My Truth Tell Me Yours. It was made available on digital, CD, and vinyl, with the CD edition featuring bonus demos, live rehearsal recordings, remixes, and B-sides. The album was launched on 7 December 2018 and to promote it, the band went on tour in Spring and Summer 2019, performing the album in full alongside other content. In March 2020, the Manics announced a deluxe reissue of their Gold Against the Soul album for release on 12 June 2020. Bonus content included previously unreleased demos, B-sides from the era, remixes, and a live recording, while the CD was released alongside a book of unseen photographs from the era with handwritten annotations and lyrics from the band. The next day, the unnamed follow-up album to Resistance is Futile, their fourteenth overall, was confirmed to NME alongside Bradfield's second solo album. The group's album, including a track called "Orwellian", was described as "expansive" and is due for release in Summer 2021. On 14 May 2021, the Manics announced the title of their fourteenth studio album: The Ultra Vivid Lament. The first single from the album, "Orwellian", was released on the same day. "The Secret He Had Missed", the second single from the album, was released on 16 July 2021. The Ultra Vivid Lament was released on 10 September 2021 and received generally positive reviews from critics: on Metacritic, the album has a weighted average score of 78 out of 100 based on 12 reviews, indicating "generally favorable reviews". The album sold 27,000 copies in the first week, granting the band their second UK Number 1 album as they narrowly beat Steps to the number 1 spot. Solo work In late 2005, both Bradfield and Wire announced that they intended to release solo material before a new album by the band. A free download of Nicky Wire's debut solo offering I Killed the Zeitgeist was posted on the band's website for just one day, Christmas Day 2005, while "The Shining Path" was released exclusively on iTunes for download. Also, a promotional album sampler had been sent out to the press and certain other people which included "I Killed the Zeitgeist", "Goodbye Suicide", "Sehnsucht", and "Everything Fades". The album was officially released in September 2006. It charted at No. 130 in the UK. The sound of the album, which Nicky referred to as his "nihilistic anti-everything album", was inspired by, among others, Neu!, the Plastic Ono Band, Einstürzende Neubauten, the Modern Lovers, Richard Thompson and Lou Reed. Only one official single was released, "Break My Heart Slowly", which charted at No. 74. Nicky toured small intimate venues across the UK with his band the Secret Society. Bradfield's solo album, The Great Western, was released in July 2006, to positive reviews from critics. It reached No. 22 in the UK. The sound of the album was inspired by, among others, Jeff Beck, Badfinger, Simple Minds and McCarthy. Two singles were released: "That's No Way to Tell a Lie" (No. 18) in July, which was also the background music to the BBC's Match of the Day's 'Goal of the Month' competition, and then "An English Gentleman" (No. 31) in September. The latter is in remembrance of the first Manics manager Philip Hall, who died from cancer in 1993 and to whom The Holy Bible had been dedicated. The initial pressings of the red 7" single were made with black vinyl, some of which were sent out to distributors by mistake. James toured the album with a band that included Wayne Murray, who would subsequently play the second guitar for Manics live performances. James's solo gigs featured covers of the Clash songs "Clampdown" and "The Card Cheat", both from the album London Calling. In a later interview, when the band were collectively asked what they had learned from making a solo album, Sean Moore dryly quipped "Not to do one". In March 2020, Bradfield was confirmed to be working on a second album while the band took a short break, while Wire was also considering more solo content. That June, two tracks by Bradfield, "There'll Come a War" and "Seeking the Room With the Three Windows", were released digitally. The album title was announced as Even in Exile the next week alongside the launch of its first single, "The Boy From the Plantation", and the album was released on 14 August 2020. The album was generally well-received and peaked at no.6 in the UK Albums Chart Collaborations and covers The band released a split single in 1992 with the Fatima Mansions, a rock cover of "Suicide Is Painless", which became their first UK Top 10 hit. They have recorded many cover versions of songs by other artists, primarily as B-sides for their own singles. Bands and artists to whom the group have paid tribute in this way include the Clash, Guns N' Roses, Alice Cooper, Happy Mondays, McCarthy, Chuck Berry, Faces and Nirvana. The band's first musical appearance since Edwards' departure was recording a cover of "Raindrops Keep Fallin' on My Head" for The Help Album, a charity effort in 1995 in support of aid efforts in war-torn Bosnia and Herzegovina. The Lightning Seeds' song "Waiting for Today to Happen", from their fifth album, Dizzy Heights (1996), was written by Nicky Wire and Ian Broudie. That same year, James Dean Bradfield and Dave Eringa produced Northern Uproar's first single, "Rollercoaster/Rough Boys". The 808 State song "Lopez" (1997) features lyrics by Wire and vocals by Bradfield. It is featured on their greatest hits album, 808:88:98. Kylie Minogue's sixth album, Impossible Princess (1997), features two songs co-written and produced by the Manics: "Some Kind of Bliss" (Bradfield, Minogue and Sean Moore) and "I Don't Need Anyone" (Bradfield, Jones and Minogue) were produced by Bradfield and Dave Eringa. Bradfield provided backing vocals, bass guitar and production for the Massive Attack song "Inertia Creeps" (1998), which features on their successful third album, Mezzanine. Patrick Jones's album of poetry set to music, Commemoration and Amnesia (1999), features two songs with music written by Bradfield: the title track and "The Guerilla Tapestry". Bradfield plays the guitar on both songs. Furthermore, the track "Hiraeth" features a section called "Spoken Word", in which Nicky Wire talks about Welsh identity. In February 2006, the band contributed a cover version of "The Instrumental" to the album Still Unravished: A Tribute to the June Brides. In February 2008, the Manics covered Rihanna's hit pop song "Umbrella". Their version appeared on a CD titled NME Awards 2008 given away free with a special souvenir box-set issue of NME magazine, which went on sale 27 February. Additionally, the Manics' version of the song was made available on iTunes from 5 March 2008. Despite being chart-eligible (it reached number 47 in the UK), the release was not intended as an official single. Two further versions (the Acoustic and Grand Slam mixes) were later made available on iTunes and now comprise a three-track Umbrella EP. James Dean Bradfield and Nicky Wire contributed an original song, "The Girl from Tiger Bay", to Shirley Bassey's 2009 studio album, The Performance. Musical style and influences Manic Street Preachers' music has been variously described as alternative rock, Britpop, hard rock glam rock, pop rock, punk metal, and punk rock. The band have stated that the Clash were "probably our biggest influence of all". When they saw them on television, "we thought it was fantastic and got really excited. They were the catalyst for us". In addition, they have cited artists including Aerosmith, Alice in Chains, Electric Light Orchestra, Rory Gallagher, Gang of Four, Guns N' Roses, Joy Division, Magazine, PiL, the Red Hot Chili Peppers, Siouxsie and the Banshees, Skids, Bruce Springsteen, and Wire, as influential or inspirational to their music. Bradfield's guitar hero is guitarist John McGeoch: "He taught me, you can have that rock'n'roll swagger, but still build something into it that's really unsettling, and can cut like a razor blade". Alluding to the band's early relationship with Britpop, Cam Lindsay of Canadian music publication Exclaim! opined that "Britpop was rising, the Manics were offering the polar opposite: a bleak, uncompromising work that wanted nothing to do with the party". Band members Current members James Dean Bradfield – lead and backing vocals, lead guitar, piano, keyboards (1986–present), rhythm guitar (1988–1989, 1995–present) Nicky Wire – bass, piano, backing and lead vocals (1988–present), rhythm guitar (1986–1988) Sean Moore – drums, percussion, trumpet, backing vocals (1986–present) Former members Miles "Flicker" Woodward – bass (1986–1988) Richey Edwards – rhythm guitar, backing vocals (1989–1995; disappeared in 1995; declared dead in 2008) Current touring musicians Wayne Murray (Thirteen:13) – rhythm guitar, backing vocals (2006–present) Nick Nasmyth – keyboards (1995–2005, 2013–present) Gavin Fitzjohn – rhythm guitar, backing vocals (2018–present) Former touring musicians Dave Eringa – keyboards (1993–1995) Greg Haver – rhythm guitar, percussion (2002–2003) Anna Celmore – piano (2002–2003) Guy Massey – rhythm guitar (2004–2005) Sean Read – piano, keyboards, percussion, saxophone (2006–2012) Richard Beak – bass (2018) Timeline Discography Generation Terrorists (1992) Gold Against the Soul (1993) The Holy Bible (1994) Everything Must Go (1996) This Is My Truth Tell Me Yours (1998) Know Your Enemy (2001) Lifeblood (2004) Send Away the Tigers (2007) Journal for Plague Lovers (2009) Postcards from a Young Man (2010) Rewind the Film (2013) Futurology (2014) Resistance Is Futile (2018) The Ultra Vivid Lament (2021) Awards and nominations Best Art Vinyl Awards The Best Art Vinyl Awards are yearly awards established in 2005 by Art Vinyl Ltd to celebrate the best album artwork of the past year. \|- \| 2007 \| Send Away the Tigers \| Best Vinyl Art \| Brit Awards The Brit Awards are the British Phonographic Industry's annual popular music awards. Manic Street Preachers has received four awards from eight nominations. \|- \|rowspan="4"\|1997 \|Manic Street Preachers \|British Group \| \|- \|Everything Must Go \|British Album of the Year \| \|- \|rowspan="2"\|"A Design for Life" \|British Single of the Year \| \|- \|British Video of the Year \| \|- \|rowspan="3"\|1999 \|Manic Street Preachers \|British Group \| \|- \|This Is My Truth Tell Me Yours \|British Album of the Year \| \|- \|"If You Tolerate This Your Children Will Be Next" \|British Single of the Year \| \|- \|2000 \|"You Stole the Sun from My Heart" \|British Single of the Year \| \|} GAFFA Awards \|- \|1998 \|"If You Tolerate This Your Children Will Be Next" \|Årets Udenlandske Hit \| \|} Hungarian Music Awards The Hungarian Music Awards have been given to artists in the field of Hungarian music since 1992. \|- \|2010 \|Journal for Plague Lovers \|rowspan="3"\|Alternative Music Album of the Year \| \|- \|2014 \|Rewind the Film \| \|- \|2015 \|Futurology \| \|} Mercury Prize The Mercury Prize is an annual music prize awarded for the best album released in the United Kingdom by a British or Irish act. \|- \|1996 \|Everything Must Go \|rowspan="2"\|Album of the Year \| \|- \|1999 \|This Is My Truth Tell Me Yours \| \|} NME Awards The NME Awards is an annual music award show in the United Kingdom. \|- \| 1996 \| rowspan=2\|Manic Street Preachers \| Best Band \| \|- \|rowspan="3"\|1997 \|Best Live Act \| \|- \|Everything Must Go \|Best LP \| \|- \|"A Design for Life" \|Best Track \| \|- \|1998 \|rowspan=2\|Manic Street Preachers \|rowspan=2\|Best Band \| \|- \|rowspan="4"\|1999 \| \|- \|This Is My Truth Tell Me Yours \|Best Album \| \|- \|rowspan="2"\|"If You Tolerate This Your Children Will Be Next" \|Best Track \| \|- \|Best Music Video \| \|- \|rowspan=4\|2000 \| "A Design for Life" \| Best Ever Single \| \|- \| The Holy Bible \| Best Album Ever \| \|- \| rowspan="4"\|Manic Street Preachers \| Best Band Ever \| \|- \| Best Band \| \|- \|2001 \|Best Rock Act \| \|- \|2008 \|Godlike Genius Award \| \|- \|2010 \|Journal for Plague Lovers \|Best Album Artwork \| \|- \|2012 \|National Treasures - The Complete Singles \|rowspan="2"\|Reissue of the Year \| \|- \|rowspan="2"\|2013 \|Generation Terrorists \| \|- \|Manic Street Preachers \|Best Fan Community \| \|- \|2015 \|The Holy Bible \|Reissue of the Year \| \|} Q Awards The Q Awards are the UK's annual music awards run by the music magazine Q. \|- \|1996 \|Everything Must Go \|Best Album \| \|- \|1998 \|rowspan="6"\|Manic Street Preachers \|rowspan="4"\|Best Act in the World Today \| \|- \|1999 \| \|- \|2000 \| \|- \|rowspan="2"\|2001 \| \|- \|Best Live Act \| \|- \|2006 \|Merit Award \| \|- \|rowspan="2"\|2007 \|"Your Love Alone Is Not Enough" \|Best Track \| \|- \|Send Away the Tigers \|Best Album \| \|- \|2011 \|Manic Street Preachers \|Greatest Act of the Last 25 Years \| \|- \|2012 \|Generation Terrorists \|Classic Album \| \|- \|2013 \|"Show Me the Wonder" \|Best Video \| \|- \|2014 \|Futurology \|Best Album \| \|- \|2017 \|Manic Street Preachers \|Inspiration Award \| \|} Žebřík Music Awards !Ref. \|- \| rowspan=3\|1998 \| Manic Street Preachers \| Best International Group \| \| rowspan=3\| \|- \|This Is My Truth Tell Me Yours \| Best International Album \| \|- \| "If You Tolerate This Your Children Will Be Next" \| Best International Song \| Viewers' Favourite Album of All Time (The Holy Bible) – Newsnight 15th Best Album of All Time (The Holy Bible) – Melody Maker 10th Best Album Since Creation of Magazine (The Holy Bible) – Q 18th Best Album of All Time (The Holy Bible) – Q 10th Greatest Album of All Time (The Holy Bible) – Kerrang! 11th Greatest Album of All Time (Everything Must Go) – Q 16th Best Album Since Creation of Magazine (Everything Must Go) – Q 22nd Best British Rock Album of All Time (Everything Must Go) – Kerrang! One of the Best Albums of All Time (Everything Must Go) – Absolute Radio One of The Writers' Best Albums (Everything Must Go) of 1996 – The Daily Telegraph Writers' Best Album (Everything Must Go) of 1996 – Melody Maker Readers' Band of 1996 (Runner-up) and Writers' Album of 1996 (Everything Must Go) – NME Writers' Best Live Band of 1996 – NME Brat Award Writers' Best Album of 1996 (Everything Must Go) – Vox Writers' Best Album of 1996 (Everything Must Go) – The Sunday Times Writers' Best Album of 1996 (Everything Must Go) – Sky Writers' Best Album of 1996 (Everything Must Go) and Readers' Best Album of 1996 (Everything Must Go) – Select Writers' Best Album of 1996 (Everything Must Go) – Music Week One of Writers' Top Ten Albums (Everything Must Go) of 1996 – Metal Hammer Writers' Album (Everything Must Go) of 1996 (Runner-up) – Kerrang! One of Writers' Top Five Albums (Everything Must Go) of 1996 – The Independent on Sunday Readers' Best Album (Everything Must Go) of 1996 – Hot Press Writers' Best Album (Everything Must Go) of 1996 – The Guardian Ivor Novello Award for Best Contemporary Song (A Design For Life), 1996 7th Best Band of All Time – 1999 NME Best Ever Category 7th Best Album of All Time (The Holy Bible) – 1999 NME Best Ever Category 8th Best Single of All Time (A Design For Life) – 1999 NME Best Ever Category Best Internacional Rock Group – Eska Music Awards, Poland, 2008 The MOJO Maverick Award 2009 Songwriting Prize at the Classic Rock Roll of Honour Awards, 2011 Ambassadors of Rock – Silver Clef Award 2012 Musician's Union Maestro (for James Dean Bradfield) at the Classic Rock Roll of Honour Awards, 2013 The Ivors Inspiration Award at the Ivor Novello Awards, 2015 References Sources External links 1986 establishments in Wales Cool Cymru Brit Award winners British pop rock music groups British glam rock groups Heavenly Recordings artists Ivor Novello Award winners Musical groups established in 1986 British musical trios Musical quartets NME Awards winners Political music groups Welsh alternative rock groups Welsh hard rock musical groups Welsh punk rock groups Welsh socialists Britpop groups Columbia Records artists	true	[ "Resistance Is Futile may refer to:\n\nResistance Is Futile (album), a 2018 studio album by the Manic Street Preachers\n\"Resistance Is Futile\" (Dexter), a 2007 broadcast episode of Dexter\nResistance Is Futile (Oh Hiroshima), a 2012 studio album by Oh Hiroshima\nResistance Is Futile!: How the Trump-Hating Left Lost Its Collective Mind, 2018 book by Ann Coulter\n\nSee also\n\nThe Master, a renegade alien Time Lord in the Doctor Who universe, uses the phrase \"Resistance is futile\" in season 14, episode 9, \"The Deadly Assassin\", October 1976\nThe Dorcons, an alien species in the Space: 1999 universe, use the phrase \"Resistance is futile\" in season 2, episode 24, \"The Dorcons\", 1977\nBorg (Star Trek), an alien collective in the Star Trek: The Next Generation universe, regularly use the phrase \"Resistance is futile\", for example in Season 3 Episode 26, \"The Best of Both Worlds, Part One\"; original air date: June 18, 1990\nGalactus in Hulk and the Agents of S.M.A.S.H., used that phrase in season 2, episode 2, \"Planet Hulk\" (Part 2), 2015", "Akelarre is the seventh studio album by the thrash metal/death metal band Criminal.\n\nTrack listing \n \"Order from Chaos\" – 4:53\n \"Resistance Is Futile\" – 4:40\n \"The Ghost We Summoned\" – 4:03\n \"Akelarre\" – 1:59\n \"State of Siege\" – 4:10\n \"Tyrannicide\" – 4:21\n \"Feel the Void\" – 4:40\n \"The Power of the Dog\" – 3:35\n \"Vows of Silence\" – 4:16\n \"La Santa Muerte\" – 4:47\n\nReferences\n\nCriminal (band) albums\n2011 albums" ]
[ "Manic Street Preachers", "Escape from History and Resistance Is Futile (2017-present)", "What is Escape from History?", "the band revealed a teaser trailer for a new documentary entitled Escape from History, charting the band's journey", "Was this successful?", "The documentary aired on Sky Arts on 15 April.", "What is Resistance is Futile?", "the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018." ]	C_507d8770973243d98e83327d1a39e64b_1	Did this album have success?	4	Did Resistance is Futile album have success?	Manic Street Preachers	In February 2017 the band revealed a teaser trailer for a new documentary entitled Escape from History, charting the band's journey from The Holy Bible, through to the disappearance of lyricist and guitarist Richey Edwards, to the huge success of Everything Must Go. The documentary aired on Sky Arts on 15 April. The band also stated that they would release a new album later in that year. The band released a special edition of their album Send Away the Tigers on 12 May. 2017 marks the 10th anniversary of the record and the Manics said that "this is a very important album" in their career. The special edition featured a remastered album as well as b-sides and rarities spread over two discs, plus a DVD which features the band's 2007 Glastonbury performance, rehearsal footage, an album track-by-track, and promo videos. On 17 November 2017, the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018. After much delay, the band wrote "The main themes of 'Resistance is Futile' are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration," the band say in a statement. "It's obsessively melodic - in many ways referencing both the naive energy of 'Generation Terrorists' and the orchestral sweep of 'Everything Must Go'. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work." It is the first album to be recorded at the "Door to The River" new studio. In January 2018, Manic Street Preachers signed a new publishing contract with Warner/Chappell Music, leaving their longtime home Sony/ATV Music Publishing. On the new album the Manics launched their first single "International Blue" as a download on 8 December 2017. The second single "Distant Colours" was released also as a download on 16 February 2018. About the first single the band said that there's was certain naive energy and widescreen melancholia on the song that is reflected through the whole album, comparing it to Motorcycle Emptiness. Furthermore the album focused on "(...)things that make your life feel a little bit better. Rather than my internalised misery, I tried to put a sense of optimism into the lyrics by writing about things that we find really inspiring." Said Wire, taking inspiration from David Bowie and seen as almost an escape and a wave of optimism, just like the previoous album was described. On the other hand "Distant Colours" was written by James Dean Bradfield, rather than Nicky Wire, and inspired by disenchantment and Nye Bevan's old Labour. He said: "Musically, the verse is downcast and melancholic and the chorus is an explosion of disillusionment and tears." The third single "Dylan & Caitlin" was released as a download on 9 March 2018. CANNOTANSWER	CANNOTANSWER	Manic Street Preachers, also known as the Manics, are a Welsh rock band formed in Blackwood in 1986. The band consists of cousins James Dean Bradfield (lead vocals, lead guitar) and Sean Moore (drums, percussion, soundscapes), plus Nicky Wire (bass guitar, lyrics). They form a key part of the 1990s Welsh Cool Cymru cultural movement. Following the release of their debut single "Suicide Alley", Manic Street Preachers were joined by Richey Edwards as co-lyricist and rhythm guitarist. The band's early albums were in a punk vein, eventually broadening to a greater alternative rock sound, whilst retaining a leftist political outlook. Their early combination of androgynous glam imagery and lyrics about "culture, alienation, boredom and despair" gained them a loyal following. Manic Street Preachers released their debut album, Generation Terrorists, in February 1992, followed by Gold Against The Soul in 1993 and The Holy Bible in 1994. Edwards disappeared in February 1995 and was legally presumed dead in 2008. The band achieved commercial success with the albums Everything Must Go (1996) and This Is My Truth Tell Me Yours (1998). The Manics have headlined festivals including Glastonbury, T in the Park, V Festival and Reading. They have won eleven NME Awards, eight Q Awards and four BRIT Awards. They were nominated for the Mercury Prize in 1996 and 1999, and have had one nomination for the MTV Europe Music Awards. They have reached number 1 in the UK charts four times: in 1998, with This Is My Truth Tell Me Yours and the single "If You Tolerate This Your Children Will Be Next", in 2000 with the single "The Masses Against the Classes", and in 2021 with The Ultra Vivid Lament. They have sold more than ten million albums worldwide. History Formation and early years (1986–1991) Manic Street Preachers formed in 1986 at Oakdale Comprehensive School, Blackwood, South Wales, which all the band members attended. Bradfield and the slightly older Moore are cousins and shared bunk beds in the Bradfield family home after Moore's parents divorced. During the band's early years, Bradfield, alongside the classically trained Moore, primarily wrote the music while Wire focused on the lyrics. The origin of the band's name remains unclear, but the most often-told story relates that Bradfield while busking one day in Cardiff, got into an altercation with someone (sometimes said to be a homeless man) who asked him "What are you, boyo, some kind of manic street preacher?" Original bassist Flicker (Miles Woodward) left the band in early 1988, reportedly because he believed that the band were moving away from their punk roots. The band continued as a three-piece, with Wire switching from guitar to bass, and in 1988 they released their first single, "Suicide Alley". Despite its recording quality, this punk ode to youthful escape provides an early insight into both Bradfield's guitar work and Moore's live drumming, the latter of which would be absent from the band's first LP. The Manics intended to restore revolution to rock and roll at a time when Britain was dominated by shoegaze and acid house. The NME gave "Suicide Alley" an enthusiastic review, citing a press release by Richey Edwards: "We are as far away from anything in the '80s as possible." After the release of "Suicide Alley," Edwards joined the band on rhythm guitar and contributed to lyrics alongside Wire. Edwards also designed record sleeves and artwork and drove the band to and from gigs. In 1990 the Manic Street Preachers signed a deal with label Damaged Goods Records for one EP. The four-track New Art Riot E.P. attracted as much media interest for its attacks on fellow musicians as for the actual music. With the help of Hall or Nothing management, the Manics signed to indie label Heavenly Records. The band recorded their first single for the label, entitled "Motown Junk". Their next single, "You Love Us", sampled Krzysztof Penderecki's "Threnody to the Victims of Hiroshima" as well as Iggy Pop. The video featured Nicky Wire in drag as Marilyn Monroe and contained visual references to the film Betty Blue and to Aleister Crowley. In an interview with then-NME journalist Steve Lamacq, Edwards carved the phrase "4REAL" into his arm with a razor blade to prove their sincerity. He was taken to hospital and received seventeen stitches. NME subsequently ran a full-page story on the incident, including a phone interview with Richey on his motivations for doing it. A recording of the editorial meeting discussing whether or not they could publish the image was included as a b-side on the band's 1992 charity single Theme from M.A.S.H. (Suicide Is Painless), featuring Lamacq, the then-editor of NME Danny Kelly and James Brown (who went on to edit Loaded and the British version of GQ). As a result of their controversial behaviour, the Manics quickly became favourites of the British music press, which helped them build a rabidly dedicated following. Columbia Records of Sony Music UK signed the band shortly afterwards and they began work on their debut album. Richey Edwards era: Generation Terrorists to The Holy Bible (1992–1995) The band's debut album, Generation Terrorists, was released in 1992 on the Columbia Records imprint. The liner notes contained a literary quote for each of the album's eighteen songs and the album lasted just over seventy minutes. The album's lyrics are politicised like those of the Clash and Public Enemy, with the album's songs regularly switching from a critical focus on global capitalism to more personal tales of despair and the struggles of youth. About the musical style of the album Pitchfork writer Joe Tangari wrote that Generation Terrorists "walked a weird line between agit-punk, cock rock, romantic melodicism and glam, and was so obviously patterned after the Clash's London Calling that it was actually kind of cute." Other tracks combine personal and political themes, implicating a connection between global capitalism and personal struggle; "Nat West-Barclays-Midlands-Lloyds" was written as a critique of overseas banking credit policies, but also concerned Richey Edwards' issues involving overdrafts and refused loans. Marc Burrows of Drowned in Sound considered the song to be an accurate prediction of "global financial meltdown" and its effects on everyday life. The single "Motorcycle Emptiness", meanwhile, criticises consumerism as a "shallow dream" that makes human life overtly commercialised. "Little Baby Nothing", a duet between Traci Lords and Bradfield, was described by Priya Elan of the NME as a "perfect snapshot of [female] innocence bodysnatched and twisted". The record contained six singles and sold 250,000 copies. The success of 1996's Everything Must Go at the 1997 Brit Awards ensured that sales of Generation Terrorists and subsequent albums Gold Against the Soul and The Holy Bible enjoyed a late surge; the band's debut sold an extra 110,000 copies. The band also made a cover version of the song "Suicide Is Painless" which peaked at number 7 in the UK charts, spending 3 weeks in the Top 10, and giving the band their first ever Top 10 hit single. The group's second album, Gold Against the Soul, displayed a more commercial, grungy sound which served to alienate both fans and the band itself. It was released to mixed reviews but still performed well, reaching number eight in the UK album chart. The album presents a different sound from their debut album, not only in terms of lyrics but in sound, the band privileged long guitar riffs, and the drums themselves feel more present and loud in the final mix of the album. This sound would be abandoned in their next album and as for the nature of the lyrics they also changed, with Edwards and Wire eschewing their political fire for introspective melancholy. According to AllMusic, the album "takes the hard rock inclinations of Generation Terrorists to an extreme." The band also stated that the choice to work with Dave Eringa again was important for this album: "We finished work in November and then just went straight into a demo studio and we came out about four weeks later with the album all finished. We were all happy with all the songs, we knew what they wanted to sound like, so we didn't want to use a mainstream producer because they've got their own sound and vision of what a record should be like. So we just phoned Dave up and said 'Look, come down, let's see how this works out', and everyone loved what we were doing, so we decided to stay with him." The band have described Gold Against the Soul as their least favourite album and the period surrounding the album as being the most unfocused of their career. The band's vocalist and guitarist James Dean Bradfield has said "All we wanted to do was go under the corporate wing. We thought we could ignore it but you do get affected." By early 1994, Edwards' difficulties became worse and began to affect the other band members as well as himself. He was admitted into The Priory in 1994 to overcome his problems and the band played a few festivals as a three-piece to pay for his treatment. The group's next album, The Holy Bible, was released in August to critical acclaim, but sold poorly. The album displayed yet another musical and aesthetic change for the band, largely featuring army/navy uniforms. Musically, The Holy Bible marks a shift from the modern rock sound of their first two albums, Generation Terrorists and Gold Against the Soul. In addition to the album's alternative rock sound the album incorporates various elements from other musical genres, such as hard rock, British punk, post-punk, new wave, industrial, art rock and gothic rock. Lyrically the album deals with subjects including prostitution, American consumerism, British imperialism, freedom of speech, the Holocaust, self-starvation, serial killers, the death penalty, political revolution, childhood, fascism and suicide. According to Q: "the tone of the album is by turns bleak, angry and resigned". There was also an element of autobiographic subjects, like in the song "4st 7lb" where the lyrics clearly tackle Richey's own experience and life. The song was named after 4 stones 7 pounds, or , because it is the weight below which death is said to be medically unavoidable for an anorexic sufferer. The title "The Holy Bible" was chosen by Edwards to reflect an idea, according to Bradfield, that "everything on there has to be perfection". Interviewed at the end of 1994, Edwards said: "The way religions choose to speak their truth to the public has always been to beat them down [...] I think that if a Holy Bible is true, it should be about the way the world is and that's what I think my lyrics are about. [The album] doesn't pretend things don't exist". Ben Patashnik of Drowned in Sound later said that the album in the time of its release "didn't sell very well, but its impact was felt keenly by anyone who'd ever come into contact with the Manics", and that it is now a "masterpiece [...] the sound of one man in a close-knit group of friends slowly disintegrating and using his own anguish to create some of the most brilliant art to be released on a large scale as music in years [...] It's not a suicide note; it's a warning." In support of the album the band appeared on Top of the Pops, performing its first single, "Faster", which reached No. 16. The performance was extremely controversial at the time, as the band were all dressed in army regalia. Bradfield wore a "terrorist-style" balaclava. At the time, the band was told by the BBC that they had received the most complaints ever. The album eventually has sold over 600,000 copies worldwide and is frequently listed among the greatest records ever recorded. In April and May 1994 the band first performed songs from The Holy Bible at concerts in Thailand and Portugal and at a benefit concert for the Anti-Nazi League at Brockwell Park, London. In June, they played the Glastonbury Festival. In July and August, without Richey Edwards, they played T in the Park in Scotland, the Alte Wartesaal in Cologne, the Parkpop Festival in The Hague and the Reading Festival. During September, October and December there was a headline tour of the UK and Ireland and two tours in mainland Europe with Suede and Therapy?. In December, three nights at the London Astoria ended with the band smashing up their equipment and the venue's lighting rig, causing £26,000 worth of damage. Edwards disappeared on 1 February 1995, on the day when he and James Dean Bradfield were due to fly to the US on a promotional tour. In the two weeks before his disappearance, Edwards withdrew £200 a day from his bank account, which totalled £2,800 by the day of the scheduled flight. He checked out of the Embassy Hotel in Bayswater Road, London, at seven in the morning, and then drove to his apartment in Cardiff, Wales. In the two weeks that followed he was apparently spotted in the Newport passport office, and the Newport bus station. On 7 February, a taxi driver from Newport supposedly picked up Edwards from the King's Hotel in Newport, and drove him around the valleys, including Blackwood (Edwards' home as a child). The passenger got off at the Severn View service station near Aust and paid the £68 fare in cash. On 14 February, Edwards' Vauxhall Cavalier received a parking ticket at the Severn View service station and on 17 February, the vehicle was reported as abandoned. Police discovered the battery to be flat, with evidence that the car had been lived in. Due to the service station's proximity to the Severn Bridge (which has been a renowned suicide location in the past) it was widely believed that he took his own life by jumping from the bridge. Many people who knew him, however, have said that he was never the type to contemplate suicide and he was quoted in 1994 as saying "In terms of the 'S' word, that does not enter my mind. And it never has done, in terms of an attempt. Because I am stronger than that. I might be a weak person, but I can take pain." Since then he has reportedly been spotted in a market in Goa, India, and on the islands of Fuerteventura and Lanzarote. There have been other alleged sightings of Edwards, especially in the years immediately following his disappearance. However, none of these has proved conclusive and none has been confirmed by investigators. He has not been seen since. Manic Street Preachers was put on hold for six months and disbanding the group was seriously considered, but with the blessing of Edwards' family, the other members continued. Edwards was legally "presumed dead" in 2008, to enable his parents to administer his estate. The band continue to set up a microphone for Edwards at every live performance. Everything Must Go to Lifeblood (1996–2006) The first album without Edwards, Everything Must Go, was released on 20 May 1996. The band had chosen to work with new producer Mike Hedges, mainly for his work on Siouxsie and the Banshees' single "Swimming Horses" that Bradfield rated highly. Hedges had already been approached before to produce The Holy Bible but he wasn't available at the time. Everything Must Go debuted on the UK Albums Chart at number 2, so far the album has gone Triple Platinum in the UK and is their most successful album to date, spending 103 weeks in the Top 100 with the album still in the Top 5 a year after its release. Containing five songs either written or co-written by Edwards the album was released to overwhelmingly positive reviews. Lyrically the themes were different from their previous effort, instead of introspective and autobiographical tracks such as "4st 7lb", Wire's predilection for historical and political themes dominates, like the No. 2 hit single "A Design for Life". The song was the first to be written and released by the band following the mysterious disappearance of figurehead Richey Edwards the previous year and was used as the opening track on Forever Delayed, the band's greatest hits album released in November 2002. James Dean Bradfield later recalled that the lyric had been a fusion of two sets of lyrics-"Design for Life" and "Pure Motive"-sent to him from Wales by bassist Nicky Wire, while he was living in Shepherd's Bush. The music was written "in about ten minutes" and Bradfield felt a sense of euphoria with the result. The song was credited with having "rescued the band" from the despair felt after the disappearance of Edwards, with Wire describing the song as "a bolt of light from a severely dark place". The album was shortlisted for the 1996 Mercury Prize award for best album and won the band two Brit Awards for Best British Band and Best British Album, as well as yielding the hit singles "Australia", "Everything Must Go" and "Kevin Carter". Subjects tackled on the album include the tragic life of the photographer Kevin Carter, on the track of the same name, Willem de Kooning and the maltreatment of animals in captivity on "Small Black Flowers That Grow in the Sky" (which is a quote from the film The Best Years of Our Lives). The latter track, with lyrics by Edwards, can also be interpreted as an exploration of his mental state before his disappearance; the line "Here chewing your tail is joy" for instance may be as much about Richey's self-harm as it is the tormented self-injury of zoo animals. It was their most direct and mature record to date and it established the Manics as superstars throughout the world. The album has sold over two million copies around the world, and it is still considered one of the finest releases of the decade, a classic album from the 1990s and frequently voted in polls in the category of best albums of all time by many publications. In 1997 the band performed a special gig at the Manchester Arena for more than 20,000 people. Bassist Nicky Wire said that was the moment he knew that the band had "made it". The recording was released as a VHS video on 29 September 1997 and has only been reissued on DVD in Japan. This Is My Truth Tell Me Yours (1998) was the first number 1 of the band in the UK, remaining at the top of the albums chart for 3 weeks, selling 136,000 copies in the first week and spending a total of 74 weeks in the Album Chart. The title is a quotation taken from a speech given by Aneurin Bevan, a Labour Party politician from Wales. Its working title was simply Manic Street Preachers. The cover photograph was taken on Black Rock Sands near Porthmadog, Wales. Around the world the album also peaked at number 1 in countries like Sweden and Ireland, and it sold over five million copies worldwide. With their fifth album, the group also had a No. 1 single, "If You Tolerate This Your Children Will Be Next". The song's theme is taken from the Spanish Civil War, and the idealism of Welsh volunteers who joined the left-wing International Brigades fighting for the Spanish Republic against Francisco Franco's military rebels. The song takes its name from a Republican poster of the time, displaying a photograph of a young child killed by the Nationalists under a sky of bombers with the stark warning "If you tolerate this, your children will be next" written at the bottom. The song is in the Guinness World Records as the number one single with the longest title without brackets. The album also included the hit singles "You Stole the Sun from My Heart", "Tsunami" and "The Everlasting". The Manics won Best British Band and Album awards at the BRIT Awards in 1999. This Is My Truth Tell Me Yours was also shortlisted for the 1999 Mercury Prize and the band received a further nomination in the category of Best UK & Ireland Act in the 1999 MTV Europe Music Awards, where the band performed live the single If You Tolerate This Your Children Will Be Next. In the NME Awards in 1999, the band won every single big prize, Best Band, Best Album, Best Live Act, Best Single and Best Video, nailing also the prize for Best Band in the World Today in the Q Awards 1998. After headlining Glastonbury Festival, T in the Park and V Festival, the band played the Leaving the 20th Century concert at the Millennium Stadium in Cardiff on 31 December 1999, the first concert to be held there, with 57,000 people attending and the final song being broadcast around the world by satellite as part of 2000 Today. The concert is available on VHS and DVD. Subtitled English lyrics, available as an extra, contain errors when compared to the official lyrics in the band's album booklets and in between some of the tracks there are interview clips where the band discusses their history and the songs. In 2000, they released the limited edition single "The Masses Against the Classes". Despite receiving little promotion, the single sold 76,000 copies in its first week and reached number one in the UK Singles Chart on 16 January 2000, beating "U Know What's Up" by Donell Jones to the top. The catalogue entry for the single was deleted (removed from wholesale supply) on the day of release, but the song nevertheless spent 9 weeks in the UK chart. In 2001, they became the first popular Western rock band to play in Cuba (at the Karl Marx Theater) and met with President Fidel Castro. Their concert and trip to Cuba was documented and then released as a DVD entitled Louder Than War. At this concert, they revealed many tracks from their upcoming sixth album, Know Your Enemy, which was released on 19 March. The left-wing political convictions of the Manic Street Preachers are apparent in many of the album's songs, such as "Baby Elián" as they comment on the strained relations between the United States and Cuba as seen in the Elián González affair, a hot topic around the album's release. The band also pays tribute to singer and civil rights activist Paul Robeson in the song "Let Robeson Sing", but the song "Ocean Spray", which was a single, was written entirely by James about his mother's battle with cancer. The first singles from the album, "So Why So Sad" and "Found That Soul", were both released on the same day. The final single "Let Robeson Sing" was released later. The Manics also headlined Reading and Leeds Festival. The greatest hits (plus remixes) album Forever Delayed was released in 2002, containing two new songs, "Door to the River" and the single "There by the Grace of God". Several songs were edited for length ("Motorcycle Emptiness," "You Love Us", "Australia," "Everything Must Go," "Little Baby Nothing," and "The Everlasting") so that more tracks could fit onto the CD (though not listed as edits in the liner notes). The Forever Delayed DVD was released in 2002 together with the greatest hits CD and photo book that bear the same name, and features all the promo music videos from the start of the band's career released before the DVD. Along with the promo videos, there is a selection of 14 remix videos, where the visual material is taken from clips of the other promo videos as well as backdrop visuals from the band's live concerts. The album peaked and debuted on the UK Albums Chart at #4. An album of B-sides, rarities, and cover versions was released in 2003 entitled Lipstick Traces (A Secret History of Manic Street Preachers), which contains the last song the band worked on with Edwards. The album received a far more positive reception from fans than the Forever Delayed greatest hits album, which was heavily criticised for favouring the band's more commercially successful singles. The only recurring criticism of Lipstick Traces was the exclusion of the fan favourite "Patrick Bateman", from the "La Tristesse Durera (Scream to a Sigh)" single. The band explained that it was excluded mainly because it was almost seven minutes long and simply would not fit on the album. The band's seventh studio album, Lifeblood, was released on 1 November 2004 and reached No. 13 on the UK album chart. Critical response to the album was mixed. The album was more introspective and more focused on the past, Wire talked about the ghosts that haunted this record and stated that the record was a retrospective: "The main themes are death and solitude and ghosts. Being haunted by history and being haunted by your own past. Sleep is beautiful for me. I hate dreaming because it ruins ten hours of bliss. I had a lot of bad dreams when Richey first disappeared. Not ugly dreams, but nagging things. Until we wrote 'Design for Life', it was six months of misery. Lifeblood doesn't seek to exorcise Edwards' ghost, though, just admits that there are no answers". Tony Visconti helped the band produce three songs on the album, which was followed by a UK arena tour in December 2004. "Empty Souls" and "The Love of Richard Nixon" were the two singles released from the album, both reaching No. 2 in the UK. A tenth-anniversary edition of The Holy Bible was released on 6 December 2004, which included a digitally remastered version of the original album, a rare U.S. mix (which the band themselves have admitted to preferring to the original UK mix) and a DVD of live performances and extras including a band interview. In April 2005, the band played several shows as the Past-Present-Future tour—announced as their last for at least two years. The band released an EP entitled God Save the Manics with only a limited number of copies available and given out to fans as they arrived at the venue. After all the copies were gone, the band made the EP available as a free download on their website. In September, the band contributed the new track "Leviathan" to the War Child charity album Help!: A Day in the Life. In 2006 the band received the prize for the Q Merit Award in the Q Awards 2006 and also the 10th-anniversary edition of Everything Must Go was released on 6 November. It included the original album, demos, B-sides, remixes, rehearsals and alternate takes of the album's songs, spread out over two CDs. An additional DVD, featuring music videos, live performances, TV appearances, a 45-minute documentary on the making of the album, and two films by Patrick Jones, completed the three-disc set. In the 10th-anniversary edition, the band itself claims that they're still fond of the record, and Wire goes further saying: "I think it's our best record, I am not afraid to say that." Send Away the Tigers to National Treasures (2007–2012) The band's eighth studio album, Send Away the Tigers, was released on 7 May 2007 on Columbia Records. It entered the official UK album charts at No. 2. Critical response to the album was largely positive, with some critics hailing the album as the band's best in a decade. A free download of a song entitled "Underdogs" from the album was made available through the group's website on 19 March 2007. The first official single released from Send Away the Tigers was "Your Love Alone Is Not Enough", which features Cardigans vocalist Nina Persson and according to the band they always had a duet in mind, seeing that the lyrics have a question/reply style to it. According to singer Bradfield, the title was the last line of a suicide note left by the friend of someone close to the group. The second single, "Autumnsong", and a third, "Indian Summer", were released in August. "Indian Summer" peaked at number 22, making it the first Manics single not to chart in the Top 20 since 1994's "She Is Suffering". The album sleeve features a quotation from Wyndham Lewis: "When a man is young, he is usually a revolutionary of some kind. So here I am, speaking of my revolution". The band ended up promoting the album with appearances in the summer festivals like Reading and Leeds Festivals and Glastonbury Festival. The band released a Christmas single, "The Ghosts of Christmas", in December. The track was available as a free download on their official website throughout December 2007 and January 2008. In February 2008, the band were presented with the God-Like Geniuses Award at the NME Awards ceremony. The ninth Manics album, Journal for Plague Lovers, was released on 18 May 2009 and features lyrics left behind by Edwards. Wire commented in an interview that "there was a sense of responsibility to do his words justice." The album was released to positive critical reviews and reached No. 3 on the UK Album Chart. However, the cover of the album generated some controversy, with the top four UK supermarkets stocking the CD in a plain slipcase, as the cover was deemed "inappropriate". Bradfield regarded the decision as "utterly bizarre", and has commented: "You can have lovely shiny buttocks and guns everywhere in the supermarket on covers of magazines and CDs, but you show a piece of art and people just freak out." Several tracks refer to Edwards' time in a couple of hospitals in 1994. Among them is "She Bathed Herself in a Bath of Bleach", of which James Dean Bradfield said to the NME: "There're some people he met when he was in one of the two places having treatment and I think he just digested other people's stories and experiences." The final track, "William's Last Words", has been compared to a suicide note, and although Nicky Wire rejects this suggestion, Bradfield observes, "you can draw some pretty obvious conclusions from the lyrics." Wire, who admitted finding the task of editing this song "pretty choking", eventually composed the music and sang lead vocals after Bradfield found himself unsuited to the task. Bradfield commented that Journal for Plague Lovers was an attempt to finally secure the legacy of their former member Richey Edwards and the result was that, during the recording process, it was as close to feeling his presence since his disappearance: "There was a sense of responsibility to do his words justice. That was part of the whole thing of letting enough time lapse. Once we actually got into the studio, it almost felt as if we were a full band; it [was] as close to him being in the room again as possible." Tracks from Journal for Plague Lovers have been remixed by a number of artists, and the Journal for Plague Lovers Remixes EP was released on 15 June 2009. Martin Noble of the band British Sea Power remixed the song "Me and Stephen Hawking"; Andrew Weatherall remixed "Peeled Apples", which he has described as "sounding like Charlie Watts playing with PiL"; The Horrors remixed "Doors Closing Slowly"; NYPC remixed the song "Marlon J.D" and the EP also features remixes by Patrick Wolf, Underworld, Four Tet, Errors, Adem, Optimo and Fuck Buttons. On 18 June 2009, the Manics officially opened the new Cardiff Central Library. Wire later said in an interview with The Guardian that the occasion had been a great honour for the band: On 1 June 2010, the band announced on their homepage that a new album called Postcards from a Young Man would be released on 20 September. James Dean Bradfield said that the album would be an unashamedly pop-orientated affair, following 2009's Journal for Plague Lovers. "We're going for big radio hits on this one", he told NME. "It isn't a follow-up to Journal for Plague Lovers. It's one last shot at mass communication." On 26 July, the first single from the new album, "(It's Not War) Just the End of Love", was played on the breakfast shows of BBC Radio 2, BBC 6Music, XFm and Absolute Radio. It was released on 13 September. The title had previously been suggested as a working title for the album by Nicky Wire. Three collaborations were also confirmed on the band's website later that day: Duff McKagan would appear on "A Billion Balconies Facing the Sun", Ian McCulloch will add guest vocals to "Some Kind of Nothingness" and John Cale will feature on "Auto-Intoxication". Of the album's lead single, "(It's Not War) Just the End of Love," Nicky Wire claimed: "I believe in the tactile nature of rock 'n' roll. There's a generation missing out on what music meant to us...You can only elaborate on the stuff that compels you to. But "It's Not War..." is kind of saying, "Alright, we're not 18, but even at 40 the rage is still there". Postcards from a Young Man was recorded with producer (and longtime Manics collaborator) Dave Eringa and was mixed in America by Chris Lord-Alge. It was released in a standard version, 2 CD deluxe version, and limited edition box set. The album cover art uses a black and white photograph of British actor Tim Roth. The album was supported by the Manics' most extensive tour of the UK to date, starting in Glasgow on 29 September 2010. British Sea Power were the support act for the band on the tour. Two further singles were released from the album—the McCulloch-featuring "Some Kind of Nothingness" and the title track "Postcards from a Young Man". "Some Kind of Nothingness" peaked at No. 44 in the UK making it the first-ever Manics single to not make the Top 40 since they signed to Sony in 1991. The band initially announced that their next album had the working title 70 Songs of Hatred and Failure and would sound very different from Postcards From A Young Man: "The next album will be pure indulgence. There's only so much melody stored in your body that you can physically get onto one record. It was just so utterly commercial and melodic." However, Nicky Wire contradicted this in 2011 while doing promotion for their greatest hits compilation National Treasures. When asked why the band was releasing the compilation Wire stated: "It's just the end of an era. Not the end of a band. We're gonna disappear for quite a long time." National Treasures – The Complete Singles was released on 31 October 2011, preceded by the release of the single "This Is the Day", a cover of the song by The The. On 17 December 2011, the group performed 'A Night of National Treasures' at O2 Arena in London to celebrate the band's 25 years to date, and enter into a period of hiatus where the eleventh album was written. The band performed all 38 singles, with around 20,000 people in attendance, as well as guest performers including Nina Persson from the Cardigans who sings with the band on the single "Your Love Alone Is Not Enough" and Gruff Rhys from Super Furry Animals who sang with the band that night on the track Let Robeson Sing. In April and May 2012, the band embarked on a European greatest hits tour. The compilation was voted by NME magazine as the best re issue of 2011, beating Nirvana's deluxe and super deluxe edition of Nevermind to the top spot. Despite the "complete singles" title, National Treasures does not contain every Manic Street Preachers single. Notable omissions are the band's very first single, "Suicide Alley" (1989), "Strip It Down" from the New Art Riot EP (1990), for which the band's first promotional video was made, and "You Love Us (Heavenly Version)" (1991). For singles originally released as double-A sides, only one song is included: therefore from "Love's Sweet Exile/Repeat" (1992) and "Faster/P.C.P." (1994), only the first of each pair are included. On 10 October the band announced via Facebook that a film-interview-documentary about their album Generation Terrorists would be screened at 2012's Festival as a Welsh exclusive. The film was shown at Chapter Arts Centre on Saturday 20 October, with all profits being donated to Young Promoters Network. The film was made available in the 20th-anniversary re-issue of Generation Terrorists, of which there were five editions: Single Disc edition: Original Album 2 Disc Deluxe edition: Includes Original Album + Demos with DVD of Culture, Alienation, Boredom, Despair (A making of the album) 4 Disc Limited edition (3,000 copies worldwide): Includes Original Album, Demos, B-Sides, Rarities, CABD DVD + Replica of Generation Terrorist Tour VIP Pass, 10" Collage by Richey Edwards, 10" Vinyl LP of a rare Manics Radio Performance and a 28-page book from Nicky Wire's archive. Also, if the Deluxe edition was purchased from the London record store "Rough Trade", then alongside the £20 purchase came a free ticket to see a showing of the CABD film, followed by an acoustic gig with James Dean Bradfield on 6 November. Rewind the Film to The Ultra Vivid Lament (2013–present) In May 2013, the band announced an Australasian tour for June and July, that would see them play their first-ever show in New Zealand. This tour coincided with the British and Irish Lions rugby tour to Australia and the Melbourne concert on the eve of the 2nd Test featured Lions' centre Jamie Roberts as a guest guitarist on "You Love Us". In May 2013 the Manics released information about their most recent recording sessions, saying that they had enough material for two albums; the first would be almost exclusively without electric guitars. The name of the first album and title track was revealed to be Rewind the Film on 8 July. In a statement, the band announced, "(If) this record has a relation in the Manics back catalogue, it's probably the sedate coming of age that was This Is My Truth Tell Me Yours." The band also stated via Twitter, "MSP were in the great Hansa Studios in January with Alex Silva (who recorded The Holy Bible with us). Berlin was inspirational... Sean been playing a french horn in the studio today—sounding wonderful." The lead single of the album, "Show Me the Wonder", was referred to on their Twitter account, the Manics posted, "I think 'show me the wonder' is the 1st ever manics single without JDBs electric guitar on-xx." The single was released on 9 September 2013 to a positive critical reception. The album itself was released on 16 September 2013 and reached No. 4 on the UK Album Chart. The second single of the album "Anthem for a Lost Cause" was released on 25 November 2013. The other album, Futurology, the band's twelfth studio album, was released on 7 July 2014 and it received immediate critical acclaim. The lead single from the album, "Walk Me to the Bridge", was released as a digital download on the day of the announcement, on 28 April. Futurology, according to the band, is an album full of ideas and one of their most optimistic yet, as Wire said to the NME magazine in an interview: "There's an overriding concept behind 'Futurology' which is to express all the inspiration we get from travel, music and art—all those ideas, do that in a positive way. 'Rewind The Film' was a harrowing 45-year-old looking in the mirror, lyrically. 'Futurology' was very much an album of ideas. It's one of our most optimistic records, the idea that any kind of art can transport you to a different universe." The album sold about 20,000 copies in its first week and reached No. 2 on the UK Albums Chart. The title track, "Futurology", was the second and final single released from the album on 22 September, the video debuted on YouTube on 10 August. The video was directed by the British Academy of Film and Television Arts winner Kieran Evans, who worked with the band on videos from their previous effort Rewind The Film. The band promoted the album with a tour around the UK and Europe from March to May 2014, they also made appearances in festivals like T in the Park in Scotland and Glastonbury Festival in the summer. Late in 2014, the band celebrated the release of their seminal album The Holy Bible with a special edition in December, commemorating the 20th anniversary of the album. This edition includes the vinyl edition of the full album, plus a three-CD set, the first CD with the full album remastered for the special release, the second with the US mix remastered and the third including a performance at the Astoria in 1994 and an acoustic session for Radio 4 Mastertapes in 2014. The special edition also contains a 40-page book full of rare photos and handwritten lyrics and notes by Richey and by the band. In the NME Awards 2015, the album won "Reissue of the Year". They also toured the album, playing it in full for the very first time. After the tour in the UK, the Manics took The Holy Bible tour to North America, in April 2015, they played in Washington DC, Toronto, New York, Boston, San Francisco, Los Angeles and Chicago. They also played in the Cardiff Castle on 5 June 2015 with 10,000 fans attending the gig, it was broadcast nationwide by BBC Two Wales. In August 2015 the Manic Street Preachers nailed the 2 top spots on the best NME covers of all time, as voted by the general public. James Dean Bradfield and Sean Moore in November 2015 did a charity hike in Patagonia, Nicky Wire did not participate in the event, the band said: "In November 2015 we will be walking in the footsteps of our Welsh ancestors when we will be part of the Velindre group of 50 people celebrating the 150th anniversary of Welsh settlers arriving in Patagonia with a challenging six-day trek." Also in November 2015, the Manic Street Preachers announced that they were going to celebrate the 20th anniversary of their 1996 album Everything Must Go, with their biggest headline show since 1999, in the Liberty Stadium, in Swansea on 28 May 2016, featuring special guests like Super Furry Animals. The album was performed in full, with Nicky Wire teasing "b-sides, rarities and curios, greatest hits and a few brand-new songs". Before the final show in Swansea the band played: Liverpool, Echo Arena (13 May), Birmingham, Genting Arena (14 May), London, Royal Albert Hall (16–17 May), Leeds, First Direct Arena (20 May) and Glasgow, the SSE Hydro (21 May). In early 2016 the band announced the European tour of "Everything Must Go", they played across Europe, in Finland, Denmark, the Netherlands and Germany. Similar to what happened with "The Holy Bible" the Manics released on 20 May, a special anniversary edition for the album, which includes the full album remastered plus the B-sides, a heavyweight vinyl, the 1997 Nynex concert fully restored on DVD, a film about the making of the album, the official videos for the all singles and a 40-page booklet. It was also made available a standard edition with a double-CD featuring only the remastered album and the concert at the Nynex Arena. The band announced in March 2016 that they would be releasing a theme song for the Wales national team ahead of the UEFA Euro 2016 tournament in the summer, entitled "Together Stronger (C'mon Wales)", it was released on 20 May, featuring also a video with the band and the Welsh team, the Manics tweeted: "It's with great pride we can announce the Manics are providing the official Wales Euro 2016 song – 'Together Stronger (C'mon Wales)'". All profits from the song went to the Princes Gate Trust and Tenovus Cancer Care. On 8 July the band was at the Cardiff City Stadium to give a home welcome to the Wales football national team after they were knocked out of the UEFA Euro 2016 by Portugal in the semi-finals, the band played a few songs in the stadium including the official theme song "Together Stronger (C'mon Wales)". On the next night, 9 July, the Manics headlined a night at the Cornwall's Eden Project, and later the band managed to secure a new recording studio near Newport, Wales. The city's council ensured that only the band can use the studio, there would be an increase on-site parking and a series of soundproofing measures to ensure nearby properties aren't disturbed by noise. To end the summer, the Manics went on to headline another two festivals, Wasa Open Air in Finland in mid-August and in late August the Victorious Festival in Portsmouth. The band also received a nomination in the 25th British Academy Cymru Awards for the best live outside broadcast after their 2015 gig in the Cardiff Castle, celebrating the 20th anniversary of the "Holy Bible". In February 2017 the band revealed a teaser trailer for a documentary entitled Escape from History, charting the band's journey from The Holy Bible, through to the disappearance of lyricist and guitarist Richey Edwards, to the huge success of Everything Must Go. The documentary aired on Sky Arts on 15 April. The band also stated that they would release an album later in that year. The band released a special edition of their album Send Away the Tigers on 12 May. 2017 marks the 10th anniversary of the record and the Manics said that "this is a very important album" in their career. The special edition featured a remastered album as well as B-sides and rarities spread over two discs, plus a DVD which features the band's 2007 Glastonbury performance, rehearsal footage, an album track-by-track, and promo videos. On 17 November 2017, the band announced that their thirteenth album, Resistance Is Futile, would be released on 13 April 2018. After much delay, the band wrote "The main themes of 'Resistance is Futile' are memory and loss; forgotten history; confused reality and art as a hiding place and inspiration", the band say in a statement. "It's obsessively melodic—in many ways referencing both the naive energy of 'Generation Terrorists' and the orchestral sweep of 'Everything Must Go'. After delay and difficulties getting started, the record has come together really quickly over the last few months through a surge of creativity and some old school hard work." It is the first album to be recorded at the "Door to the River" studio. In January 2018, Manic Street Preachers signed a publishing contract with Warner/Chappell Music, leaving their longtime home Sony/ATV Music Publishing. On the album, the Manics launched their first single "International Blue" as a download on 8 December 2017. The second single "Distant Colours" was released, also as a download, on 16 February 2018. About the first single the band said that there's was certain naive energy and widescreen melancholia on the song that is reflected through the whole album, comparing it to Motorcycle Emptiness. Furthermore, the album focused on "(...)things that make your life feel a little bit better. Rather than my internalised misery, I tried to put a sense of optimism into the lyrics by writing about things that we find really inspiring." Said Wire, taking inspiration from David Bowie and seen as almost an escape and a wave of optimism, just like the previous album was described. On the other hand, "Distant Colours" was written by James Dean Bradfield, rather than Nicky Wire, and inspired by disenchantment and Nye Bevan's old Labour. He said: "Musically, the verse is downcast and melancholic and the chorus is an explosion of disillusionment and tears." The third single "Dylan & Caitlin" was released as a download on 9 March 2018. The fourth single "Liverpool Revisited" is about a magical day in the city, Nicky added that: "It was on the Everything Must Go (anniversary) tour and I got up really early at sunrise to walk around Liverpool, polaroid camera in hand on a balmy day. It sounds clichéd I know, but Liverpool in the sun does take on a hypnotic quality, with the Mersey and the stone." The band also revealed that they were to support Guns N' Roses during their summer tour. The fifth and final single, "Hold Me Like a Heaven", was released as a download on 4 May 2018. Wire said that the song was inspired musically by David Bowie's Ashes to Ashes, something that the band wanted to write about, and Nicky thinks that this the closest that the band is going to get, sharing also that lyrics were informed by the work of Philip Larkin. The album sold around 24,000 copies in the first week, entering the UK Albums Chart at number 2, despite being number 1 during the week. It was the highest new entry on the chart, and on physical sales the album peaked at number 1, both on CD and vinyl. In October 2018, the band announced a twentieth-anniversary collector's edition re-release of This Is My Truth Tell Me Yours. It was made available on digital, CD, and vinyl, with the CD edition featuring bonus demos, live rehearsal recordings, remixes, and B-sides. The album was launched on 7 December 2018 and to promote it, the band went on tour in Spring and Summer 2019, performing the album in full alongside other content. In March 2020, the Manics announced a deluxe reissue of their Gold Against the Soul album for release on 12 June 2020. Bonus content included previously unreleased demos, B-sides from the era, remixes, and a live recording, while the CD was released alongside a book of unseen photographs from the era with handwritten annotations and lyrics from the band. The next day, the unnamed follow-up album to Resistance is Futile, their fourteenth overall, was confirmed to NME alongside Bradfield's second solo album. The group's album, including a track called "Orwellian", was described as "expansive" and is due for release in Summer 2021. On 14 May 2021, the Manics announced the title of their fourteenth studio album: The Ultra Vivid Lament. The first single from the album, "Orwellian", was released on the same day. "The Secret He Had Missed", the second single from the album, was released on 16 July 2021. The Ultra Vivid Lament was released on 10 September 2021 and received generally positive reviews from critics: on Metacritic, the album has a weighted average score of 78 out of 100 based on 12 reviews, indicating "generally favorable reviews". The album sold 27,000 copies in the first week, granting the band their second UK Number 1 album as they narrowly beat Steps to the number 1 spot. Solo work In late 2005, both Bradfield and Wire announced that they intended to release solo material before a new album by the band. A free download of Nicky Wire's debut solo offering I Killed the Zeitgeist was posted on the band's website for just one day, Christmas Day 2005, while "The Shining Path" was released exclusively on iTunes for download. Also, a promotional album sampler had been sent out to the press and certain other people which included "I Killed the Zeitgeist", "Goodbye Suicide", "Sehnsucht", and "Everything Fades". The album was officially released in September 2006. It charted at No. 130 in the UK. The sound of the album, which Nicky referred to as his "nihilistic anti-everything album", was inspired by, among others, Neu!, the Plastic Ono Band, Einstürzende Neubauten, the Modern Lovers, Richard Thompson and Lou Reed. Only one official single was released, "Break My Heart Slowly", which charted at No. 74. Nicky toured small intimate venues across the UK with his band the Secret Society. Bradfield's solo album, The Great Western, was released in July 2006, to positive reviews from critics. It reached No. 22 in the UK. The sound of the album was inspired by, among others, Jeff Beck, Badfinger, Simple Minds and McCarthy. Two singles were released: "That's No Way to Tell a Lie" (No. 18) in July, which was also the background music to the BBC's Match of the Day's 'Goal of the Month' competition, and then "An English Gentleman" (No. 31) in September. The latter is in remembrance of the first Manics manager Philip Hall, who died from cancer in 1993 and to whom The Holy Bible had been dedicated. The initial pressings of the red 7" single were made with black vinyl, some of which were sent out to distributors by mistake. James toured the album with a band that included Wayne Murray, who would subsequently play the second guitar for Manics live performances. James's solo gigs featured covers of the Clash songs "Clampdown" and "The Card Cheat", both from the album London Calling. In a later interview, when the band were collectively asked what they had learned from making a solo album, Sean Moore dryly quipped "Not to do one". In March 2020, Bradfield was confirmed to be working on a second album while the band took a short break, while Wire was also considering more solo content. That June, two tracks by Bradfield, "There'll Come a War" and "Seeking the Room With the Three Windows", were released digitally. The album title was announced as Even in Exile the next week alongside the launch of its first single, "The Boy From the Plantation", and the album was released on 14 August 2020. The album was generally well-received and peaked at no.6 in the UK Albums Chart Collaborations and covers The band released a split single in 1992 with the Fatima Mansions, a rock cover of "Suicide Is Painless", which became their first UK Top 10 hit. They have recorded many cover versions of songs by other artists, primarily as B-sides for their own singles. Bands and artists to whom the group have paid tribute in this way include the Clash, Guns N' Roses, Alice Cooper, Happy Mondays, McCarthy, Chuck Berry, Faces and Nirvana. The band's first musical appearance since Edwards' departure was recording a cover of "Raindrops Keep Fallin' on My Head" for The Help Album, a charity effort in 1995 in support of aid efforts in war-torn Bosnia and Herzegovina. The Lightning Seeds' song "Waiting for Today to Happen", from their fifth album, Dizzy Heights (1996), was written by Nicky Wire and Ian Broudie. That same year, James Dean Bradfield and Dave Eringa produced Northern Uproar's first single, "Rollercoaster/Rough Boys". The 808 State song "Lopez" (1997) features lyrics by Wire and vocals by Bradfield. It is featured on their greatest hits album, 808:88:98. Kylie Minogue's sixth album, Impossible Princess (1997), features two songs co-written and produced by the Manics: "Some Kind of Bliss" (Bradfield, Minogue and Sean Moore) and "I Don't Need Anyone" (Bradfield, Jones and Minogue) were produced by Bradfield and Dave Eringa. Bradfield provided backing vocals, bass guitar and production for the Massive Attack song "Inertia Creeps" (1998), which features on their successful third album, Mezzanine. Patrick Jones's album of poetry set to music, Commemoration and Amnesia (1999), features two songs with music written by Bradfield: the title track and "The Guerilla Tapestry". Bradfield plays the guitar on both songs. Furthermore, the track "Hiraeth" features a section called "Spoken Word", in which Nicky Wire talks about Welsh identity. In February 2006, the band contributed a cover version of "The Instrumental" to the album Still Unravished: A Tribute to the June Brides. In February 2008, the Manics covered Rihanna's hit pop song "Umbrella". Their version appeared on a CD titled NME Awards 2008 given away free with a special souvenir box-set issue of NME magazine, which went on sale 27 February. Additionally, the Manics' version of the song was made available on iTunes from 5 March 2008. Despite being chart-eligible (it reached number 47 in the UK), the release was not intended as an official single. Two further versions (the Acoustic and Grand Slam mixes) were later made available on iTunes and now comprise a three-track Umbrella EP. James Dean Bradfield and Nicky Wire contributed an original song, "The Girl from Tiger Bay", to Shirley Bassey's 2009 studio album, The Performance. Musical style and influences Manic Street Preachers' music has been variously described as alternative rock, Britpop, hard rock glam rock, pop rock, punk metal, and punk rock. The band have stated that the Clash were "probably our biggest influence of all". When they saw them on television, "we thought it was fantastic and got really excited. They were the catalyst for us". In addition, they have cited artists including Aerosmith, Alice in Chains, Electric Light Orchestra, Rory Gallagher, Gang of Four, Guns N' Roses, Joy Division, Magazine, PiL, the Red Hot Chili Peppers, Siouxsie and the Banshees, Skids, Bruce Springsteen, and Wire, as influential or inspirational to their music. Bradfield's guitar hero is guitarist John McGeoch: "He taught me, you can have that rock'n'roll swagger, but still build something into it that's really unsettling, and can cut like a razor blade". Alluding to the band's early relationship with Britpop, Cam Lindsay of Canadian music publication Exclaim! opined that "Britpop was rising, the Manics were offering the polar opposite: a bleak, uncompromising work that wanted nothing to do with the party". Band members Current members James Dean Bradfield – lead and backing vocals, lead guitar, piano, keyboards (1986–present), rhythm guitar (1988–1989, 1995–present) Nicky Wire – bass, piano, backing and lead vocals (1988–present), rhythm guitar (1986–1988) Sean Moore – drums, percussion, trumpet, backing vocals (1986–present) Former members Miles "Flicker" Woodward – bass (1986–1988) Richey Edwards – rhythm guitar, backing vocals (1989–1995; disappeared in 1995; declared dead in 2008) Current touring musicians Wayne Murray (Thirteen:13) – rhythm guitar, backing vocals (2006–present) Nick Nasmyth – keyboards (1995–2005, 2013–present) Gavin Fitzjohn – rhythm guitar, backing vocals (2018–present) Former touring musicians Dave Eringa – keyboards (1993–1995) Greg Haver – rhythm guitar, percussion (2002–2003) Anna Celmore – piano (2002–2003) Guy Massey – rhythm guitar (2004–2005) Sean Read – piano, keyboards, percussion, saxophone (2006–2012) Richard Beak – bass (2018) Timeline Discography Generation Terrorists (1992) Gold Against the Soul (1993) The Holy Bible (1994) Everything Must Go (1996) This Is My Truth Tell Me Yours (1998) Know Your Enemy (2001) Lifeblood (2004) Send Away the Tigers (2007) Journal for Plague Lovers (2009) Postcards from a Young Man (2010) Rewind the Film (2013) Futurology (2014) Resistance Is Futile (2018) The Ultra Vivid Lament (2021) Awards and nominations Best Art Vinyl Awards The Best Art Vinyl Awards are yearly awards established in 2005 by Art Vinyl Ltd to celebrate the best album artwork of the past year. \|- \| 2007 \| Send Away the Tigers \| Best Vinyl Art \| Brit Awards The Brit Awards are the British Phonographic Industry's annual popular music awards. Manic Street Preachers has received four awards from eight nominations. \|- \|rowspan="4"\|1997 \|Manic Street Preachers \|British Group \| \|- \|Everything Must Go \|British Album of the Year \| \|- \|rowspan="2"\|"A Design for Life" \|British Single of the Year \| \|- \|British Video of the Year \| \|- \|rowspan="3"\|1999 \|Manic Street Preachers \|British Group \| \|- \|This Is My Truth Tell Me Yours \|British Album of the Year \| \|- \|"If You Tolerate This Your Children Will Be Next" \|British Single of the Year \| \|- \|2000 \|"You Stole the Sun from My Heart" \|British Single of the Year \| \|} GAFFA Awards \|- \|1998 \|"If You Tolerate This Your Children Will Be Next" \|Årets Udenlandske Hit \| \|} Hungarian Music Awards The Hungarian Music Awards have been given to artists in the field of Hungarian music since 1992. \|- \|2010 \|Journal for Plague Lovers \|rowspan="3"\|Alternative Music Album of the Year \| \|- \|2014 \|Rewind the Film \| \|- \|2015 \|Futurology \| \|} Mercury Prize The Mercury Prize is an annual music prize awarded for the best album released in the United Kingdom by a British or Irish act. \|- \|1996 \|Everything Must Go \|rowspan="2"\|Album of the Year \| \|- \|1999 \|This Is My Truth Tell Me Yours \| \|} NME Awards The NME Awards is an annual music award show in the United Kingdom. \|- \| 1996 \| rowspan=2\|Manic Street Preachers \| Best Band \| \|- \|rowspan="3"\|1997 \|Best Live Act \| \|- \|Everything Must Go \|Best LP \| \|- \|"A Design for Life" \|Best Track \| \|- \|1998 \|rowspan=2\|Manic Street Preachers \|rowspan=2\|Best Band \| \|- \|rowspan="4"\|1999 \| \|- \|This Is My Truth Tell Me Yours \|Best Album \| \|- \|rowspan="2"\|"If You Tolerate This Your Children Will Be Next" \|Best Track \| \|- \|Best Music Video \| \|- \|rowspan=4\|2000 \| "A Design for Life" \| Best Ever Single \| \|- \| The Holy Bible \| Best Album Ever \| \|- \| rowspan="4"\|Manic Street Preachers \| Best Band Ever \| \|- \| Best Band \| \|- \|2001 \|Best Rock Act \| \|- \|2008 \|Godlike Genius Award \| \|- \|2010 \|Journal for Plague Lovers \|Best Album Artwork \| \|- \|2012 \|National Treasures - The Complete Singles \|rowspan="2"\|Reissue of the Year \| \|- \|rowspan="2"\|2013 \|Generation Terrorists \| \|- \|Manic Street Preachers \|Best Fan Community \| \|- \|2015 \|The Holy Bible \|Reissue of the Year \| \|} Q Awards The Q Awards are the UK's annual music awards run by the music magazine Q. \|- \|1996 \|Everything Must Go \|Best Album \| \|- \|1998 \|rowspan="6"\|Manic Street Preachers \|rowspan="4"\|Best Act in the World Today \| \|- \|1999 \| \|- \|2000 \| \|- \|rowspan="2"\|2001 \| \|- \|Best Live Act \| \|- \|2006 \|Merit Award \| \|- \|rowspan="2"\|2007 \|"Your Love Alone Is Not Enough" \|Best Track \| \|- \|Send Away the Tigers \|Best Album \| \|- \|2011 \|Manic Street Preachers \|Greatest Act of the Last 25 Years \| \|- \|2012 \|Generation Terrorists \|Classic Album \| \|- \|2013 \|"Show Me the Wonder" \|Best Video \| \|- \|2014 \|Futurology \|Best Album \| \|- \|2017 \|Manic Street Preachers \|Inspiration Award \| \|} Žebřík Music Awards !Ref. \|- \| rowspan=3\|1998 \| Manic Street Preachers \| Best International Group \| \| rowspan=3\| \|- \|This Is My Truth Tell Me Yours \| Best International Album \| \|- \| "If You Tolerate This Your Children Will Be Next" \| Best International Song \| Viewers' Favourite Album of All Time (The Holy Bible) – Newsnight 15th Best Album of All Time (The Holy Bible) – Melody Maker 10th Best Album Since Creation of Magazine (The Holy Bible) – Q 18th Best Album of All Time (The Holy Bible) – Q 10th Greatest Album of All Time (The Holy Bible) – Kerrang! 11th Greatest Album of All Time (Everything Must Go) – Q 16th Best Album Since Creation of Magazine (Everything Must Go) – Q 22nd Best British Rock Album of All Time (Everything Must Go) – Kerrang! One of the Best Albums of All Time (Everything Must Go) – Absolute Radio One of The Writers' Best Albums (Everything Must Go) of 1996 – The Daily Telegraph Writers' Best Album (Everything Must Go) of 1996 – Melody Maker Readers' Band of 1996 (Runner-up) and Writers' Album of 1996 (Everything Must Go) – NME Writers' Best Live Band of 1996 – NME Brat Award Writers' Best Album of 1996 (Everything Must Go) – Vox Writers' Best Album of 1996 (Everything Must Go) – The Sunday Times Writers' Best Album of 1996 (Everything Must Go) – Sky Writers' Best Album of 1996 (Everything Must Go) and Readers' Best Album of 1996 (Everything Must Go) – Select Writers' Best Album of 1996 (Everything Must Go) – Music Week One of Writers' Top Ten Albums (Everything Must Go) of 1996 – Metal Hammer Writers' Album (Everything Must Go) of 1996 (Runner-up) – Kerrang! One of Writers' Top Five Albums (Everything Must Go) of 1996 – The Independent on Sunday Readers' Best Album (Everything Must Go) of 1996 – Hot Press Writers' Best Album (Everything Must Go) of 1996 – The Guardian Ivor Novello Award for Best Contemporary Song (A Design For Life), 1996 7th Best Band of All Time – 1999 NME Best Ever Category 7th Best Album of All Time (The Holy Bible) – 1999 NME Best Ever Category 8th Best Single of All Time (A Design For Life) – 1999 NME Best Ever Category Best Internacional Rock Group – Eska Music Awards, Poland, 2008 The MOJO Maverick Award 2009 Songwriting Prize at the Classic Rock Roll of Honour Awards, 2011 Ambassadors of Rock – Silver Clef Award 2012 Musician's Union Maestro (for James Dean Bradfield) at the Classic Rock Roll of Honour Awards, 2013 The Ivors Inspiration Award at the Ivor Novello Awards, 2015 References Sources External links 1986 establishments in Wales Cool Cymru Brit Award winners British pop rock music groups British glam rock groups Heavenly Recordings artists Ivor Novello Award winners Musical groups established in 1986 British musical trios Musical quartets NME Awards winners Political music groups Welsh alternative rock groups Welsh hard rock musical groups Welsh punk rock groups Welsh socialists Britpop groups Columbia Records artists	false	[ "Singing in the Twins Wonderland (Volume 3) is an album by Hong Kong girl duo Twins. It is the third album in their series of their children's albums. It was released in April 2004. Whole four albums of \"Singing in the Twins Wonderland\" had a great success because they became very popular among children. Twins had one more album released for children, named Singing in the Twins Wonderland (Volume 4).\n\nBackground\nThe album was recorded in 2003, along with other first two albums in series. The first, Singing in the Twins Wonderland (Volume 1) is released in November 2003. The second album is released in the same month, and it had also very good success like the first one, but it did not make the same success. Their third album is released on April 3, 2004. It had a good success.\n\nTrack listing\n\"The Music Room\"\n\"I've Got No Strings\"\n\"Good Morning to You\"\n\"Did You Ever See a Lassie?\"\n\"The Library\"\n\"Cuckoo Clock\"\n\"Sing a Song\"\n\"Ding Dong Bell\"\n\"Hide and Seek\"\n\"Are You Sleeping?\"\n\"Can You Tell Me What This Is?\"\n\"Follow Me\"\n\"I Have Two Hands\"\n\"On the Way to School\"\n\"Donkey Donkey\"\n\"Boy & Girl\"\n\"Ten Green Bottles\"\n\"The Hokey Pokey\"\n\"Merry-Go-Round\"\n\"By the Beach\"\n\nReferences\n\nExternal links\n\n2004 albums\nTwins (group) albums", "Strange Hobby is an uncredited cover album by Arjen Anthony Lucassen, released in 1996. The album and the booklet contained no information about Lucassen and did not explain who was responsible for the recordings, to make the album even more \"strange\".\n\nThe album features covers of songs that have influenced Lucassen's musical development, mainly from the 1960s. As he did in his solo album Pools of Sorrow, Waves of Joy, Lucassen makes all the vocals and all the instruments (except drums and synthesizer), and arranged all the songs himself.\n\nThe album was re-released on July 8, 2016 with four previously unreleased bonus tracks; this time, Lucassen was officially credited as the artist.\n\nTrack listing\n\nCommercial reception \nThe album was a commercial loss, partially because Lucassen was not well known at that time (his success really started with Into the Electric Castle). Years later, Arjen stated \"it may not be smart from a commercial point of view, but it was fun\".\n\nReferences \n\nArjen Anthony Lucassen albums\n1993 albums\nPsychedelic rock albums by Dutch artists\nCovers albums" ]
[ "Testament (band)", "Dark Roots of Earth (2010-2013)" ]	C_f7ad57c00a52470590f1c54d99df0da2_0	Is the Dark Roots of the Earth the name of an album?	1	Is the Dark Roots of the Earth the name of an album?	Testament (band)	As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER	On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth,	Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall. Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs. After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021. History Early years and first two albums (1983–1989) The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned. The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987. Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour. Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows. Commercial breakthrough (1989–1992) Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA. In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments. Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band. Transitional period (1992–2004) For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band. Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records. Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament. The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine. By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord. Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums. By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth. Reunion of classic lineup and The Formation of Damnation (2005–2010) In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time. Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down. In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest. In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page. In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada. Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low. The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra. Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God. Dark Roots of Earth (2010–2013) As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future. After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death". Dark Roots of Thrash and Brotherhood of the Snake (2013–2019) In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album. On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013. In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band. When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators. In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019. Titans of Creation and planned fourteenth studio album (2019–present) By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020. The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition. Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura. In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album. On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail." Legacy and influence Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s." Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus. Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry. In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts. Members Current members Eric Peterson – lead and rhythm guitar, backing vocals Chuck Billy – lead vocals Alex Skolnick – lead guitar, backing vocals Steve Di Giorgio – bass , backing vocals Discography The Legacy (1987) The New Order (1988) Practice What You Preach (1989) Souls of Black (1990) The Ritual (1992) Low (1994) Demonic (1997) The Gathering (1999) First Strike Still Deadly (2001) The Formation of Damnation (2008) Dark Roots of Earth (2012) Brotherhood of the Snake (2016) Titans of Creation (2020) References External links 1983 establishments in California Musical groups established in 1983 Musical groups from Berkeley, California Musical quintets Nuclear Blast artists Thrash metal musical groups from California	false	[ "Brotherhood of the Snake is the twelfth studio album by American thrash metal band Testament, released on October 28, 2016. It is the band's first studio recording with bassist Steve Di Giorgio since First Strike Still Deadly (2001). Brotherhood of the Snake also marks Testament's fifth collaboration with Andy Sneap, who had mixed and engineered all of their albums since The Gathering (1999) and produced Dark Roots of Earth (2012). The album debuted at number twenty on the Billboard 200 chart, making it Testament's second-highest-charting album in the US, behind Dark Roots of Earth, which peaked at number twelve four years earlier.\n\nBackground and production\nThe possibility of an eleventh Testament studio album was first mentioned about a week before the release of Dark Roots of Earth, when vocalist Chuck Billy stated that Testament would not take \"huge gaps\" between albums anymore, and would \"work hard and tour for two years or so,\" and try to release another album when they could. Guitarist Eric Peterson added, \"There's definitely some politics in the band now. I think if the record does good — which I think it will — it'll see Testament be doing another record. There's some people in the band that are, you know, I think aren't a hundred percent there unless, you know, it keeps going good. That's pretty extreme, but, like for me, I'm down for whatever. I started the band, I'm totally into it. This is what I do. I think, you know, if Testament sees darker days, I don't know if this lineup would stick.\" Testament spent most of 2012 and 2013 touring in support of Dark Roots of Earth, including supporting Anthrax and Death Angel on the Worship Music tour, and headlining their own U.S. tour, with support from Overkill, Flotsam and Jetsam and 4ARM. 2013 also saw the release of a live DVD/double album from Testament Dark Roots of Thrash, which documents the band's sold-out headlining performance at the Paramount in Huntington, New York in February 2013.\n\nWhen asked in a September 2013 interview if Testament had any ideas for the follow-up to Dark Roots of Earth, Billy stated Testament would begin writing and recording the album from January to April 2014 for release later that year. He added that the band was in the \"right direction\" with Dark Roots of Earth, and added \"I think that the old saying 'if it's not broken, don't fix it' fits, so we're probably going to stick with the same formula and idea. I think that there isn't any Testament album that sounds the same, so who knows what kind of songs we'll write next year...I don't know.\" However, these plans fell through, when it was announced in January 2014 that bassist Greg Christian had left Testament for the second time, citing differences with the band and money disputes as the reasons. Christian was replaced by Di Giorgio, who was the bassist for Testament from 1998 to 2004.\n\nAsked in an April 2015 interview about Testament's plans to begin recording a new album, Peterson said that his \"main goal\" was to \"get home [from tour] in June, finish it up and get in the studio by September.\" Billy added that the band's goal was to have the album finished by Thanksgiving. In May 2016, Billy confirmed the title of Testament's eleventh album to be The Brotherhood of the Snake, which at the time had been recorded, and he hoped for it to be completed before their UK tour in June 2016. Peterson said that the album was going to \"get delivered at the end of June, and it'll be probably be delivered to the record company by the end of the summer just in time for a really big tour we're doing of Europe.\"\n\nWhen asked about the musical direction of Brotherhood of the Snake, Peterson replied, \"It's different. This one is more thrash. I mean, this has got some of the fastest stuff that we have ever played. Usually, we have one or two thrash songs, and then we have some mid-tempo, and then we have a slow, heavy one, and then up-tempo kind of stuff. Half of the new record is thrash, which we've never done before.\" He also described the album as their \"kind of Reign in Blood record\", a reference to Slayer's third studio album.\n\nBilly has stated that the album draws lyrical inspiration from the ancient astronaut hypothesis, namely through the Ancient Aliens television program. Furthermore, he said the title comes from the name of an ancient secret society.\n\nOn August 4, 2016, Testament began an eight-day countdown to the release of the artwork for Brotherhood of the Snake, and the album's track listing was revealed later that month.\nIn an interview published August 26, 2016, Testament singer Chuck Billy revealed that first single \"Brotherhood of the Snake\" would be released September 2, 2016.\nTestament released second single \"Stronghold\" October 12, 2016. The official video for the song “The Pale King” was released on October 31, 2016.\n\nReception\n\nBrotherhood of the Snake has received generally positive reviews from critics. AllMusic writer Thom Jurek gave the album three-and-a-half out of five stars, and states that it \"offers an excellent sonic portrait of Testament doing what they do best -- aggressive, riff-heavy, in-your-face thrash. There is a fun concept at work here, but this is more a track-by-track listening experience that adds up to a massive whole.\"\n\nTrack listing\n\nPersonnel\n Chuck Billy – lead vocals\n Alex Skolnick – lead guitar\n Eric Peterson – lead and rhythm guitar, backing vocals\n Steve Di Giorgio – bass\n Gene Hoglan – drums\n\nCharts\n\nReferences\n\nTestament (band) albums\n2016 albums\nNuclear Blast albums", "A root is the part of a plant that most often lies below the surface of the soil but can also be aerial or aerating, that is, growing up above the ground or especially above water.\n\nRoot or roots may also refer to:\n\nArt, entertainment, and media\n Roots (film), a 1955 Mexican drama\n The Root (magazine), an online magazine focusing on African-American culture\n The Roots, a location in the video game Kya: Dark Lineage\n Roots, the English title for the Tamil film Sethum Aayiram Pon (2019)\n\nLiterature and stage plays\n Koreni (novel) (English: The Roots), by Serbian author Dobrica Cosic\n Roots (play), by Arnold Wesker\n Roots: The Saga of an American Family, a 1976 novel by Alex Haley about slavery in the United States\n\nMusic\n Root (chord), the fundamental note of a chord\n Roots music (disambiguation)\n\nGroups and individuals\n Root (band), a Czech metal band\n Root (singer), a Japanese singer\n Root!, an Australian alt-country band\n The Roots, a hip-hop group from Philadelphia, Pennsylvania\n\nAlbums\n Roots (Idrees Sulieman album), 1958\n Roots (The Everly Brothers album), 1968\n Roots (Curtis Mayfield album), 1971\n Roots: John Lennon Sings The Great Rock & Roll Hits, 1975\n Roots (Slide Hampton album), 1985\n Roots (Sepultura album), 1996\n Roots (Cedar Walton album), 1997\n Root (album), 1999, by Thurston Moore\n Roots (Blue Mountain album), 2001\n Roots (Shawn McDonald album), 2008\n R.O.O.T.S., a 2009 album by Flo Rida\n Roots (Johnny Winter album), 2011\n Roots (Orla Gartland album), 2013\n Roots (The Cavemen album), 2020\nRoots, an album by Martin Fröst\n\nSongs\n \"Root\", a song by Deftones on the 1995 album Adrenaline\n \"The Root\", a song by D'Angelo, on the 2000 album Voodoo\n \"Roots\", by the band Spunge on their 2002 album The Story So Far\n \"Roots\", a song on the 2006 Show of Hands album Witness\n \"Roots\" (Imagine Dragons song)\n \"Roots\", a 2016 song by the band Parmalee\n \"Roots\", by the band In This Moment on their 2017 album Ritual\n \"Roots (World Junior Song)\", a 2018 by The Reklaws\n \"Roots\", a 2019 song by Galantis and Valerie Broussard\n\nTelevision\n .hack//Roots, a 2006 anime series created by Bee Train\n \"Roots\", a 1990 episode of the American television sitcom Get a Life\n \"Roots\" (Haven), a television episode\n Root Sports, a sports television network in the United States\n \"Root\", code name of a fictional hacker in the TV series Person of Interest\n Roots (1977 miniseries), based upon the novel\n Roots: The Next Generations, a 1979 sequel miniseries also based upon the novel\n Roots: The Gift, a 1988 television film set between the second and third episodes of the original miniseries\n Roots (2016 miniseries), a remake of the 1977 miniseries\n \"Roots\", an episode of the television series One Day at a Time\n\nBusinesses\n Root, Inc., an American insurance company\n Roots Canada, a clothing brand with stores worldwide\n\nComputing\n /root, the Unix superuser's home directory in the Filesystem Hierarchy Standard\n ROOT, an object-oriented multipurpose data analysis package\n root, a name for the superuser account in some operating systems\n Root directory, the first or top-most directory in a hierarchy\n Root node, the node in a tree data structure from which every other node is accessible\n ROOTS (software), a series of genealogy programs\n\nMathematics\n\n The th root of a number\n Root of unity, a complex number which is an th root of one\n Root of an equation, a solution of the equation\n Root of a function, more meaningfully called zero of a function, an argument for which the function evaluates to zero\n Root of a polynomial, a zero of the corresponding polynomial function\n Digital root, the sum of a number's digits\n Any of the elements of a root system of vectors\n One designated vertex of a rooted tree in graph theory\n The root or base of a number system\n\nParts of objects\n Root of the hair\n Root of penis\n Wing root, an aircraft part\n The root of a mountain, in orogeny\n The bottom part of a tooth\n\nPeople\n Root (surname), a family name\n Roots Manuva (born 1972), British rapper\n Rutaba Yaqub, Saudi Arabian singer, also known as \"Roots\"\n Root, Japanese singer from Strawberry prince\n Elmar Roots (1900-1962), Estonian veterinarian\n Byron Root Pierce (1829-1924), American dentist and American Civil War veteran\n\nPlaces\n Root, Switzerland, a municipality in the district of Lucerne\n\nUnited States\n Roots, Michigan, an unincorporated community in Henrietta Township, Jackson County\n Root, New York, a town in Montgomery County\n Roots, Pennsylvania, a census-designated place in Blair County\n Root River (Minnesota)\n Root River (Wisconsin)\n\nOther uses\n Root (board game), a game published by Leder Games\n Root (Chinese constellation)\n Root (linguistics), the core form of a word\n Roots, one's cultural heritage\n Root cause, the initiating cause of a condition\n\nSee also\n Radix (disambiguation)\n Rootes (disambiguation)\n Rooting (disambiguation)\n Root of all evil (disambiguation)\n Rut (disambiguation)\n Solution (disambiguation)" ]
[ "Testament (band)", "Dark Roots of Earth (2010-2013)", "Is the Dark Roots of the Earth the name of an album?", "On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth," ]	C_f7ad57c00a52470590f1c54d99df0da2_0	Did many copies of this album sell?	2	Did many copies of the Dark Roots of the Earth album sell?	Testament (band)	As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER	CANNOTANSWER	Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall. Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs. After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021. History Early years and first two albums (1983–1989) The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned. The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987. Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour. Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows. Commercial breakthrough (1989–1992) Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA. In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments. Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band. Transitional period (1992–2004) For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band. Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records. Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament. The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine. By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord. Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums. By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth. Reunion of classic lineup and The Formation of Damnation (2005–2010) In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time. Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down. In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest. In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page. In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada. Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low. The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra. Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God. Dark Roots of Earth (2010–2013) As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future. After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death". Dark Roots of Thrash and Brotherhood of the Snake (2013–2019) In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album. On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013. In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band. When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators. In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019. Titans of Creation and planned fourteenth studio album (2019–present) By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020. The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition. Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura. In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album. On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail." Legacy and influence Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s." Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus. Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry. In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts. Members Current members Eric Peterson – lead and rhythm guitar, backing vocals Chuck Billy – lead vocals Alex Skolnick – lead guitar, backing vocals Steve Di Giorgio – bass , backing vocals Discography The Legacy (1987) The New Order (1988) Practice What You Preach (1989) Souls of Black (1990) The Ritual (1992) Low (1994) Demonic (1997) The Gathering (1999) First Strike Still Deadly (2001) The Formation of Damnation (2008) Dark Roots of Earth (2012) Brotherhood of the Snake (2016) Titans of Creation (2020) References External links 1983 establishments in California Musical groups established in 1983 Musical groups from Berkeley, California Musical quintets Nuclear Blast artists Thrash metal musical groups from California	false	[ "This is a list of the best-selling albums of recorded music in South Korea. To appear on the list, the figure must have been published by a reliable source and the album must have sold at least 1 million copies. The best-selling album in South Korea as of 2021 is Map of the Soul: 7, by South Korean boy band BTS. The studio album, released in February 2020, became the best-selling album in South Korea of all time, with over 4.1 million copies sold in less than a month. Including figures based on illegal sales, Kim Gun-mo's 1995 studio album Wrongful Encounter is estimated to have sold at least 3.3 million copies, and held the record as the best-selling South Korean album for 24 years until it was broken by BTS with Map of the Soul: Persona in 2019.\n\nAll albums that have sold over one million copies in South Korea are by Korean artists, with the exception of Whitney Houston's The Bodyguard (1992) and Mariah Carey's Music Box (1993). BTS is the act with the most million-selling albums, having ten, followed by Kim Gun-mo, Shin Seung-hun, and Seo Taiji with six each. BTS' Love Yourself: Her became the first album released since 2001 to sell over 1 million copies in 2017, and BTS' Love Yourself: Answer became the first album to sell over 2 million copies since 2000 in 2018. BTS' Map of the Soul: Persona became the first album to sell over 3 million copies since 1997 in 2019, followed by Map of the Soul: 7 which became the first album ever to surpass 4 million sales in 2020. In 2013, the combined sales of Exo's XOXO and its repackage exceeded 1 million copies, and in 2019 BTS became the first act to sell 1 million copies of both an album and its repackage, with Wings and You Never Walk Alone each surpassing 1 million sales.\n\nOn September 10, 1998, the Korea Video & Record Distributors Association (KVRDA) published the first South Korean sales charts, tallying album sales figures for the month of August and the March-August semester. Between 1999 and 2007, the Music Industry Association of Korea (MIAK) published monthly charts, with fifty chart positions and detailed sales for each album. Following the sharp decline of domestic music sales in the 21st century, the Korea Music Content Association (KMCA) introduced the Gaon Album Chart in February 2010, which included a detailed breakdown of online chart data. The KMCA began awarding sales certifications for albums in April 2018—only albums released after January 1, 2018 are eligible. Certifications are not included in this list, because the Gaon Music Chart publishes detailed album sales.\n\nLegend\n\n2 million or more copies\n\n1 million–1.9 million copies\n\nBest-selling album by year\nSales of standard release and reissue albums in a year. This list does not include sales of the same album in other years apart from the specified calendar year. For a list of total sales, see sections above.\n\nSee also\n List of best-selling singles in South Korea\n List of certified albums in South Korea\n\nNotes\n\nReferences\n\nSouth Korea\nSouth Korean music-related lists", "My So-Called Life is the second and final album by the Chicago-based nu metal music group From Zero. The album was released on May 6, 2003 via Arista Records. Due to a lack of promotion by Arista Records, poor reviews, and general changes in mainstream music tastes, the album did not sell many copies. The album features a cover of Phil Collins' \"I Don't Care Anymore\".\n\nTrack listing\n\nPersonnel\nJett – vocals, bass\nPete Capizzi – guitar, backing vocals\nJoe Pettinato – guitar\nKid – drums\n\nReferences\n\n2003 albums\nFrom Zero albums\nArista Records albums" ]
[ "Testament (band)", "Dark Roots of Earth (2010-2013)", "Is the Dark Roots of the Earth the name of an album?", "On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth,", "Did many copies of this album sell?", "I don't know." ]	C_f7ad57c00a52470590f1c54d99df0da2_0	How popular was this album?	3	How popular was the Dark Roots of the Earth album?	Testament (band)	As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER	Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date.	Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall. Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs. After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021. History Early years and first two albums (1983–1989) The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned. The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987. Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour. Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows. Commercial breakthrough (1989–1992) Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA. In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments. Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band. Transitional period (1992–2004) For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band. Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records. Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament. The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine. By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord. Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums. By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth. Reunion of classic lineup and The Formation of Damnation (2005–2010) In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time. Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down. In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest. In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page. In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada. Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low. The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra. Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God. Dark Roots of Earth (2010–2013) As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future. After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death". Dark Roots of Thrash and Brotherhood of the Snake (2013–2019) In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album. On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013. In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band. When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators. In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019. Titans of Creation and planned fourteenth studio album (2019–present) By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020. The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition. Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura. In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album. On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail." Legacy and influence Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s." Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus. Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry. In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts. Members Current members Eric Peterson – lead and rhythm guitar, backing vocals Chuck Billy – lead vocals Alex Skolnick – lead guitar, backing vocals Steve Di Giorgio – bass , backing vocals Discography The Legacy (1987) The New Order (1988) Practice What You Preach (1989) Souls of Black (1990) The Ritual (1992) Low (1994) Demonic (1997) The Gathering (1999) First Strike Still Deadly (2001) The Formation of Damnation (2008) Dark Roots of Earth (2012) Brotherhood of the Snake (2016) Titans of Creation (2020) References External links 1983 establishments in California Musical groups established in 1983 Musical groups from Berkeley, California Musical quintets Nuclear Blast artists Thrash metal musical groups from California	false	[ "How Much for Happy is Canadian actress and singer-songwriter Cassie Steele's debut album. How Much for Happy was released in Canada on March 15, 2005, and in the US on April 26, 2005. The album was sold on iTunes in the US for a few months, but after having an argument with Rob'N'Steal Productions about the distribution of How Much for Happy, the album was removed from iTunes, yet was still available on Amazon.com. Physically, the album is now out of print in the US, but it was put back on iTunes. Steele wrote 12 out of the 13 tracks on her debut album. The thirteenth was a remake of the popular song by Jimi Hendrix, \"Hey Joe\".\n\nSales\nThe album was certified gold in Canada, selling more than 25,000 copies.\n\nSingles\nTwo singles, \"Blue Bird\" and \"Famous\", were released off of the album. A music video for \"Blue Bird\" was released as well, which featured Cassie recording the single along with photos of her.\n\nTrack listing\n\"Not Yours Truly\"\n\"Famous\"\n\"Fantasy\"\n\"Blue Bird\"\n\"Jaded\"\n\"Rock Your Bones\"\n\"Drink Me Dry\"\n\"Crimson Tears\"\n\"Broken (How Much for Happy)\"\n\"Empty Eyes\"\n\"A Sinner's Prayer\"\n\"Love Cost\"\n\"Hey Joe\"\n Unreleased track: \"Things That God Cannot Explain\"\n\n2005 debut albums\nCassie Steele albums", "How the West Was Won may refer to:\n How the West Was Won (film), a 1962 American Western film\n How the West Was Won (TV series), a 1970s television series loosely based on the film\n How the West Was Won (Bing Crosby album) (1959)\n How the West Was Won (Led Zeppelin album) (2003)\n How the West Was Won (Peter Perrett album) (2017)\n How the West Was Won, a 2002 album by Luni Coleone\n \"How the West Was Won\", a 1987 song by Laibach from Opus Dei\n \"How the West Was Won\", a 1996 song by the Romo band Plastic Fantastic\n\nSee also\n How the West Was Fun, a 1994 TV movie starring Mary-Kate and Ashley Olsen\n How the West Was One (disambiguation)\n \"How the West Was Won and Where It Got Us\", a 1997 song by R.E.M." ]
[ "Testament (band)", "Dark Roots of Earth (2010-2013)", "Is the Dark Roots of the Earth the name of an album?", "On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth,", "Did many copies of this album sell?", "I don't know.", "How popular was this album?", "Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date." ]	C_f7ad57c00a52470590f1c54d99df0da2_0	Did the album stay on the charts long?	4	Did the Dark Roots of the Earth album stay on the charts long?	Testament (band)	As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER	CANNOTANSWER	Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall. Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs. After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021. History Early years and first two albums (1983–1989) The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned. The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987. Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour. Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows. Commercial breakthrough (1989–1992) Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA. In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments. Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band. Transitional period (1992–2004) For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band. Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records. Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament. The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine. By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord. Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums. By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth. Reunion of classic lineup and The Formation of Damnation (2005–2010) In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time. Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down. In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest. In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page. In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada. Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low. The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra. Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God. Dark Roots of Earth (2010–2013) As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future. After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death". Dark Roots of Thrash and Brotherhood of the Snake (2013–2019) In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album. On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013. In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band. When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators. In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019. Titans of Creation and planned fourteenth studio album (2019–present) By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020. The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition. Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura. In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album. On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail." Legacy and influence Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s." Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus. Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry. In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts. Members Current members Eric Peterson – lead and rhythm guitar, backing vocals Chuck Billy – lead vocals Alex Skolnick – lead guitar, backing vocals Steve Di Giorgio – bass , backing vocals Discography The Legacy (1987) The New Order (1988) Practice What You Preach (1989) Souls of Black (1990) The Ritual (1992) Low (1994) Demonic (1997) The Gathering (1999) First Strike Still Deadly (2001) The Formation of Damnation (2008) Dark Roots of Earth (2012) Brotherhood of the Snake (2016) Titans of Creation (2020) References External links 1983 establishments in California Musical groups established in 1983 Musical groups from Berkeley, California Musical quintets Nuclear Blast artists Thrash metal musical groups from California	false	[ "\"Stay on These Roads\" is a song by Norwegian band A-ha, released on 14 March 1988 as the lead single from their third studio album of the same name (1988). It achieved success in many European countries.\n\nRelease and reception\n\"Stay on These Roads\" was released in the spring of 1988 and became the most successful single from the Stay on These Roads album, along with \"The Living Daylights\" on the UK charts. The song did not hit the national charts in the United States, but was a significant hit across Europe. It went to number seven in Germany, number three in France and Iceland, and number two in Ireland. In Norway, the song was the band's fourth number one single. \"Stay on These Roads\" was A-ha's seventh and final top five showing in the United Kingdom, reaching number five on the chart edition of March 27, 1988. It would also prove their last top ten hit in the country for almost two decades, as they did not score another UK top ten hit until eighteen years later in 2006.\n\nA Roland D-50 was used on this song—the sound patch is called \"Staccato Heaven\"—the wind sound during the instrumental was made on either a Roland Juno 60 or Juno 106 synthesizer.\n\nThe versions on the 7\" vinyl and the 3\" CD single (\"7 inch Version\") are identical to the album version.\n\nA-ha played the song at Oslo Spektrum on 21 August 2011, performing for a national memorial service dedicated to the victims of the 2011 Norway attacks.\n\nMusic video\nThe music video accompanying the song's release was directed by Andy Morahan, with its location footage filmed on England's East Anglia coast at Aldeburgh, Suffolk.\n\nTrack listings\n7-inch single: Warner Bros. / W 7936 United Kingdom\n \"Stay on These Roads\" - 4:46\n \"Soft Rains of April\" (Original Mix) - 3:18\n Track 1 is the \"Album Version\".\n\n12-inch single: Warner Bros. / W 7936T United Kingdom\n \"Stay on These Roads\" (Extended Remix) - 6:08\n \"Soft Rains of April\" (Original Mix) - 3:18\n Also released as a 12\" picture disc (W 8405TP)\n\n7-inch single: Warner Bros. / 7-27886 United States\n \"Stay on These Roads\" (U.S. 7'' Edit) - 3:54\n \"You'll End Up Crying - 3:18\n Track 1 is exclusive to this version\n\nCD single: Warner Bros. / W 7936CD United Kingdom\n \"Stay on These Roads\" (7\" version) - 4:46\n \"Soft Rains of April\" (Original Mix) - 3:18\n \"Take on Me\" - 3:50\n \"Cry Wolf\" - 4:05\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nReferences\n\n1988 singles\n1988 songs\nA-ha songs\nMusic videos directed by Andy Morahan\nNumber-one singles in Denmark\nNumber-one singles in Norway\nSong recordings produced by Alan Tarney\nSongs written by Magne Furuholmen\nSongs written by Morten Harket\nSongs written by Paul Waaktaar-Savoy\nWarner Records singles", "A Time for Us is the debut studio album by Australian recording artist Luke Kennedy, who finished second on the second season of The Voice Australia. The album was released on 12 July 2013, through Universal Music Australia. It features eight songs Kennedy performed on The Voice, two original songs, as well as two newly recorded covers.\n\nSingles\n \"Stay for a Minute\" – Released on 5 July 2013. It did not reach the Aria Charts top 100.\n\nTrack listing\n\nCharts\n\nRelease history\n\nReferences\n\n2013 debut albums" ]
[ "Testament (band)", "Dark Roots of Earth (2010-2013)", "Is the Dark Roots of the Earth the name of an album?", "On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth,", "Did many copies of this album sell?", "I don't know.", "How popular was this album?", "Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date.", "Did the album stay on the charts long?", "I don't know." ]	C_f7ad57c00a52470590f1c54d99df0da2_0	What else is important about this album?	5	Besides debuting at No. 12 on Billboard 200, what else is important about the Dark Roots of the Earth album?	Testament (band)	As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER	Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel.	Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall. Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs. After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021. History Early years and first two albums (1983–1989) The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned. The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987. Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour. Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows. Commercial breakthrough (1989–1992) Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA. In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments. Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band. Transitional period (1992–2004) For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band. Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records. Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament. The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine. By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord. Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums. By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth. Reunion of classic lineup and The Formation of Damnation (2005–2010) In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time. Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down. In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest. In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page. In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada. Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low. The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra. Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God. Dark Roots of Earth (2010–2013) As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future. After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death". Dark Roots of Thrash and Brotherhood of the Snake (2013–2019) In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album. On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013. In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band. When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators. In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019. Titans of Creation and planned fourteenth studio album (2019–present) By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020. The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition. Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura. In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album. On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail." Legacy and influence Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s." Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus. Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry. In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts. Members Current members Eric Peterson – lead and rhythm guitar, backing vocals Chuck Billy – lead vocals Alex Skolnick – lead guitar, backing vocals Steve Di Giorgio – bass , backing vocals Discography The Legacy (1987) The New Order (1988) Practice What You Preach (1989) Souls of Black (1990) The Ritual (1992) Low (1994) Demonic (1997) The Gathering (1999) First Strike Still Deadly (2001) The Formation of Damnation (2008) Dark Roots of Earth (2012) Brotherhood of the Snake (2016) Titans of Creation (2020) References External links 1983 establishments in California Musical groups established in 1983 Musical groups from Berkeley, California Musical quintets Nuclear Blast artists Thrash metal musical groups from California	false	[ "\"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", "Brand New Morning is the 13th studio album by the English rock band Magnum, released in 2004 by SPV.\n\n\"We All Run\" is an apocalyptic song. \"It's actually about the nuclear holocaust\", Tony Clarkin explained. \"The idea of the song is we all ignore the important things in life. And the actual verse is that it is really poetic license trying to create a picture \"We all run\" as \"We don't care anymore\". Like the cities are burning, like people are starving to death. That's what it means.\"\n\nThe lyrics to \"Brand New Morning\" can be considered as a reflection by Clarkin, following the heart attack he suffered in 2002. Bob Catley commented, \"We are a heavy lyric band. With the song \"Brand New Morning\" it is like the first day of the rest of your life. Forget everything else. Just wake up with the sun shining and start living. That is what 'Brand New Morning' is all about.\" The song was covered by Iron Maiden vocalist Bruce Dickinson before the album was released.\n\nThe album marks the final departure from the style of Hard Rain. According to Bob Catley, Brand New Morning can be considered as the real return of Magnum following the 1995-2001 split, as it took Clarkin one album to get back into writing for Magnum.\n\nTrack listing\n\nPersonnel \n Tony Clarkin — guitar\n Bob Catley — vocals\n Al Barrow — bass guitar\n Mark Stanway — keyboards\n Harry James — drums\n\nReferences\n\nExternal links \n www.magnumonline.co.uk — Official Magnum site\n\n2004 albums\nMagnum (band) albums\nAlbums produced by Tony Clarkin\nSPV/Steamhammer albums" ]
[ "Testament (band)", "Dark Roots of Earth (2010-2013)", "Is the Dark Roots of the Earth the name of an album?", "On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth,", "Did many copies of this album sell?", "I don't know.", "How popular was this album?", "Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date.", "Did the album stay on the charts long?", "I don't know.", "What else is important about this album?", "Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel." ]	C_f7ad57c00a52470590f1c54d99df0da2_0	How did that tour go?	6	How did Testament's fall 2011 tour with Anthrax and Death Angel go?	Testament (band)	As early as 2009, Testament commenced writing new material for their tenth album. In an interview with Metalheadz, guitarist Eric Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, frontman Chuck Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On 18 May 2011, guitarist Alex Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's plus] new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Drummer Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band tours to support the album. Gene Hoglan, who played drums on the band's 1997 album Demonic, filled in for Bostaph. It was also reported that Lamb of God drummer Chris Adler would make a special guest appearance on a couple of bonus tracks. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. On 14 July 2011, it was announced that the tenth Testament studio album would be called Dark Roots of Earth, which, after many delays, was released on July 27, 2012. Dark Roots of Earth debuted at No. 12 on Billboard 200, the band's highest chart position to date. Prior to the album's release, the band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. It was announced on 1 December 2011 that Paul Bostaph had left Testament. Gene Hoglan recorded the drum tracks for Dark Roots of Earth and continues to play live with the band. In interviews, Testament have expressed pleasure in Hoglan's playing, and hope that he would continue playing with the band for the foreseeable future. CANNOTANSWER	CANNOTANSWER	Testament is an American thrash metal band from Berkeley, California. Formed in 1983 under the name Legacy, the band's current lineup comprises rhythm guitarist Eric Peterson, lead vocalist Chuck Billy, lead guitarist Alex Skolnick and bassist Steve Di Giorgio. Testament has experienced many lineup changes over the years, with Peterson being the only remaining original member, though they have since been rejoined by one of its songwriters Skolnick, who was out of the band from 1992 to 2005. Billy has been a member of Testament since 1986, when he replaced original singer Steve "Zetro" Souza, who had joined Exodus as the replacement of Paul Baloff. He and Peterson are the only members to appear on all of Testament's studio albums, with the latter being the only constant member overall. Labeled as one of the "big six" of the 1980s Bay Area thrash metal scene (along with Exodus, Death Angel, Lååz Rockit, Forbidden and Vio-lence), Testament is often credited as one of the most popular and influential bands of the thrash metal scene, as well as one of the leaders of the second wave of the genre in the late 1980s. They have also been referred to as one of the "big eight" of thrash metal, along with Metallica, Megadeth, Slayer, Anthrax, Exodus, Overkill and Death Angel. The band has sold over 1.4 million albums in the United States since the beginning of the SoundScan era and over 14 million copies worldwide. To date, Testament has released thirteen studio albums (one of which is a collection of re-recorded songs), four live albums, five compilation albums, twelve singles and three DVDs. After signing to Atlantic Records in 1986, and changing their name from Legacy to Testament, they released their debut album The Legacy in 1987, followed a year later by The New Order (1988); both albums were acclaimed by critics and the press, including heavy metal-related publications. The band achieved mainstream popularity with its third album Practice What You Preach (1989), which was Testament's first album to climb up the Top 100 on the Billboard 200 chart. A string of more successful albums were released during the early-to-mid-1990s, including Souls of Black (1990), The Ritual (1992) and Low (1994), with the first two also entering the Top 100 on the Billboard 200 chart. After Atlantic dropped the band in 1995, Testament (who had at this point had begun to experiment with a death metal-influenced sound) continued to record and perform until their temporary hiatus in 2001, when Billy was diagnosed with cancer. By 2005, his cancer was in remission and Testament had resumed activity, which briefly saw a reunion of The Legacy lineup and member changes in the interim. Since Skolnick's return to the band, Testament has experienced a resurgence of popularity, with two of their studio albums—Dark Roots of Earth (2012) and Brotherhood of the Snake (2016)—entering the Top 20 on the Billboard 200, and they have continued to tour consistently. The band released their latest studio album, Titans of Creation, on April 3, 2020. They are working on new material for their next studio album as of 2021. History Early years and first two albums (1983–1989) The band was formed in the San Francisco Bay Area in 1983 under the name Legacy by guitarist Eric Peterson and his cousin, guitarist Derrick Ramirez. They soon added drummer Louie Clemente, vocalist Steve Souza and bassist Greg Christian and began playing club shows with bands such as Slayer, Lȧȧz Rockit, Death Angel and others. Clemente left the band in 1985 and was replaced by drummer Mike Ronchette. Derrick Ramirez departed soon after and young guitarist Alex Skolnick, who had studied under Bay Area guitarist Joe Satriani, was brought into the band. Legacy had been writing original material since forming and released a self-titled, four-song demo in 1985. Steve Souza left the band in 1986 to join Exodus and was replaced by Chuck Billy at Souza's suggestion. Mike Ronchette also left the band, and former drummer Louie Clemente returned. The band was signed to Megaforce Records in 1986 on the strength of the demo tape. While recording their first album, the band was forced to change their name to Testament (which, according to Maria Ferrero in the May 2007 issue of Revolver, was suggested by Billy Milano of S.O.D. and M.O.D.), because the "Legacy" name was already trademarked by a hotel R&B cover band. Legacy played their last show prior to this name change at The Stone in San Francisco on March 4, 1987. Testament's debut album, The Legacy, was released in April 1987 on Megaforce Records, and also distributed by Atlantic. They received instant fame within thrash circles and were often compared with fellow Bay Area thrash pioneers Metallica. Thanks to this, and the regular rotation of their first-ever music video "Over the Wall" on MTV's Headbangers Ball, the band quickly managed to increase their exposure by heading out on successful American and European tours with Anthrax, who were supporting their Among the Living album. On this tour, the Live at Eindhoven EP was recorded. Testament also opened for Slayer as well as their labelmates Overkill, and Megadeth on their Peace Sells... but Who's Buying? tour. Testament's second album, The New Order, was released in May 1988, and found the band continuing in a similar vein. The album was a minor success, peaking at number 136 on the Billboard 200, but managed to sell over 250,000 copies on the strength of the airplay of "Trial by Fire" and the cover of Aerosmith's Nobody's Fault" (through radio and television), as well as relentless touring schedules. In support of The New Order, Testament opened for Megadeth on their So Far, So Good... So What! tour in Europe, and toured the United States with the likes of Overkill, Voivod, Death Angel, Vio-Lence, Nuclear Assault, Sanctuary, Raven, Forbidden and Heathen. They also made a number of festival appearances in the summer of 1988, such as Metalfest in Milwaukee, Aardschokdag in The Netherlands, and replaced Megadeth for some dates on the European Monsters of Rock tour, also featuring Iron Maiden, Kiss, David Lee Roth, Great White and Anthrax. By the time The New Order tour ended in early 1989, Testament had not only cemented their reputation as one of the most acclaimed thrash metal acts, but had also graduated to headlining their own shows. Commercial breakthrough (1989–1992) Testament released their third studio album, Practice What You Preach, in August 1989. The album minimized the occult and gothic themes found in the lyrical content of their first two albums, instead focusing on real-life issues such as politics and corruption, and while staying true to its thrash metal roots, it saw the band drawing influences from traditional heavy metal, jazz fusion and progressive/technical metal. Practice What You Preach was a commercial breakthrough for Testament, reaching at number 77 on the Billboard 200, and it was accompanied by three singles (the title track, "The Ballad" and "Greenhouse Effect") that received significant airplay from AOR radio stations and MTV's Headbangers Ball, further helping raise the band's profile. Testament toured for almost a year behind Practice What You Preach with several bands, including Overkill, Annihilator, Wrathchild America, Mortal Sin, Xentrix, Nuclear Assault, Savatage, Flotsam and Jetsam, Mordred, Dark Angel and a then-relatively unknown Primus. Despite selling over 450,000 copies, the album has never been certified gold by the RIAA. In October 1990, Testament released their fourth studio album Souls of Black. Although reviews were mixed, the album managed to sell respectably, in no doubt largely off the strength of the single title track, and saw the band perform on arena tours, including the European Clash of the Titans tour with Megadeth, Slayer and Suicidal Tendencies. Testament supported Souls of Black with two North American tours, opening for Judas Priest on their Painkiller tour from October to December 1990, and Slayer on their Seasons in the Abyss tour from January to March 1991. They also toured Japan, and played shows with Anthrax and Sepultura. Shortly after completing the Souls of Black tour, the band released their first VHS documentary Seen Between the Lines, containing live clips recorded during the Souls of Black world tour, four promotional music videos and video interview segments. Attempting to reconnect with an audience distracted by the growing grunge movement, Testament released The Ritual in 1992. Recorded at One on One Recording in Los Angeles under producer Tony Platt, it saw a stylistic move away from thrash to a slower, slightly more traditional heavy metal sound, and a somewhat more progressive atmosphere, with the title track being the longest song Testament had recorded up to this point. Drummer Louie Clemente acknowledged this musical change in a 1992 interview with Deseret News, explaining, "The Ritual is slower and geared toward the old style of metal while The Legacy was pure thrash. In fact, every release has been different. We've progressed naturally." Clemente said in the same interview that Platt's involvement within the album helped Testament "get more of a vibe." The Ritual peaked at 55 on the Billboard 200, the band's highest chart position at the time, and the power ballad "Return to Serenity" managed to receive radio airplay, peaking at number 22. Despite selling more than 485,000 copies in the United States, the album has never received gold certification. In support of The Ritual, Testament toured Europe and North America, headlining their own tours, as well as opening for Iron Maiden on their Fear of the Dark tour, and Black Sabbath on their Dehumanizer tour. However, the success of the album did not put an end to the tensions within the band. Transitional period (1992–2004) For the remainder of the 1990s, Testament had undergone a series of changes in its lineup, as well as a change of pace in its musical style. The first member of The Legacy-era lineup to leave the band was lead guitarist Alex Skolnick, who performed his last show with them on Halloween 1992. Skolnick has stated that one of the reasons he left Testament was because he wanted to expand his musical horizons rather than continuing to play thrash metal music. A few months later, drummer Louie Clemente left the band. Skolnick and Clemente were temporarily replaced by Forbidden members Glen Alvelais and Paul Bostaph, respectively. This lineup released the 1993 live EP, Return to the Apocalyptic City. Soon after, Alvelais quit the band and Paul Bostaph departed to join Slayer. Their next album, Low (1994), featured John Tempesta on drums and death metal guitarist James Murphy, formerly of Death, Cancer, and Obituary. Low was a diverse album, featuring various influences such as alternative, hard rock, death metal, groove metal, progressive, and as well as a ballad, "Trail of Tears". The band's remaining fans reacted favorably to the album, although it did little to expand Testament's fanbase. Some fans, however, viewed Testament's move away from the mainstream as a liberation that allowed them to expand artistically, not being pressured by sales and success as they once were. Despite the fact that the album charted lower than the band's previous three albums on the Billboard 200 at number 122, its title track "Low" received decent airplay from Headbangers Ball on MTV and the Los Angeles-based radio station KNAC, just before both outlets went off the air in early 1995. Testament toured for over a year in support of Low, playing with numerous acts such as Machine Head, Downset., Korn, Forbidden, Kreator, At the Gates, Moonspell, Crowbar, Suffocation and Gorefest. Their first full-length live album Live at the Fillmore, released in the summer of 1995, was recorded during this tour and marked their first release since they ended their eight-and-a-half-year tenure with Atlantic Records. Tempesta left Testament after the recording of Low to join White Zombie, being replaced by Jon Dette for the following tour, though the latter would leave the band in 1995. Dette's replacement was Chris Kontos, who had formerly been part of Machine Head. This lineup is featured on the Judas Priest cover Rapid Fire. After the 1996 club tour, Greg Christian, James Murphy, and Chris Kontos departed the band. During the time Kontos was in Testament he suggested the band drop the name altogether and call the band "Dog Faced Gods". This idea was turned down by Billy and Peterson who wanted to continue with the Testament name. The two later temporarily disbanded Testament. The band's follow-up album, Demonic, released June 1997, took a new approach, and found Testament experimenting with death metal more. The album featured Eric Peterson on both lead and rhythm guitar (although Glen Alvelais made a guest appearance, and played on the subsequent tour), early member Derrick Ramirez on bass guitar, and former Dark Angel drummer Gene Hoglan. Hoglan left before the Demonic tour to join Strapping Young Lad, with Steve Jacobs doing the South American leg of the tour and Jon Dette returning later. Hoglan's loyalty to Strapping Young Lad and his desire to not remain a member of Testament actually came to realization during a published interview the band conducted with Metal Maniacs Magazine. By 1998, Ramirez, Alvelais and Dette had departed and James Murphy had returned for the June 1999 release of The Gathering. The rhythm section on The Gathering was highly respected, consisting of metal fretless bass pioneer Steve Di Giorgio (formerly of Death and Sadus) and original Slayer drummer Dave Lombardo. The sound of the album was largely a combination of death metal and thrash metal, with a minor black metal influence from Eric Peterson's side project, Dragonlord. Soon after the release of The Gathering, lead guitarist James Murphy was diagnosed with a brain tumor. Through various fundraisers, Murphy was able to afford surgery and eventually made a full recovery, but was unable to recall anything from the recording of The Gathering. In 2001, Chuck Billy was also diagnosed with germ cell seminoma, a rare form of testicular cancer, but it only affected Billy's lungs and heart. His cancer was also treated successfully. In August 2001, friends of Billy organized the Thrash of the Titans benefit concert, featuring seminal Bay Area thrash metal bands Vio-lence, Death Angel, Exodus, Forbidden, Sadus and Heathen, as well as Anthrax, S.O.D. and Flotsam and Jetsam. The show was headlined by a Legacy reunion, featuring Steve Souza on vocals, and former guitarist Alex Skolnick, who had not played with the band since 1992, and bassist Greg Christian. Late in 2001, Testament released First Strike Still Deadly, a collection of re-recordings (with modern studio technology) of songs from their first two albums. The album featured the lineup of Billy, Peterson, Di Giorgio, the return of Alex Skolnick on guitar, and John Tempesta on drums. By 2003, Chuck Billy had made a full recovery, and the band began performing live again with a new drummer, Jon Allen of Sadus. In 2004, the band changed their lineup once again for their summer festival appearances. Jon Allen was replaced by Paul Bostaph, returning to the band for a second stint after a decade's absence. Lead guitarist Steve Smyth departed to join Nevermore and was replaced by ex-Halford guitarist "Metal" Mike Chlasciak. Shortly after Steve Smyth's departure, Eric Peterson fell down a flight of stairs, breaking his leg, and was unavailable for some dates. He was temporarily replaced by Steve Smyth. Reunion of classic lineup and The Formation of Damnation (2005–2010) In May 2005, it was announced that Testament would be doing a brief Europe-only reunion tour – known as the "10 Days in May Tour" – featuring the classic lineup of Billy, Peterson, Skolnick and Christian, with drum duties shared between John Tempesta and Louie Clemente. After the success of the initial tour dates, Testament announced more dates in the U.S., Europe, and Japan with the classic lineup. Later that year, Skolnick also toured the East Coast with Trans-Siberian Orchestra. The band went on to release a live DVD and CD from the tour entitled Live in London. In interviews on the DVD, Eric Peterson expressed his desire to record the follow-up to The Gathering with the classic Testament lineup. He also stated that Alex Skolnick had begun writing songs for the new album. Chuck Billy was very vocal about how happy he was to have Alex, Greg, Louie, and John Tempesta in the band once again, and hoped to maintain a stable lineup going forward. Also in 2005, Testament's long-out of print documentary Seen Between the Lines was released on DVD for the first time. Testament played for the first time in the Middle East at the Dubai Desert Rock festival in March 2006. Other notable bands that performed for the Desert Rock Festival were Iron Maiden, Megadeth, Reel Big Fish and 3 Doors Down. In July 2007, the band played a show at Jaxx Nightclub in Springfield, Virginia, with Paul Bostaph filling in on drum duties. It was later confirmed that Bostaph would be officially returning to the band to record the new album. The band debuted a new song at that show titled "The Afterlife", which they also played at Earthshaker Fest. In February 2008, the band released the song "More Than Meets the Eye" from the new album on their Myspace page. In April 2008, Testament was confirmed for Ozzy Osbourne's Monsters of Rock festival to take place on July 26, 2008, in Calgary, Alberta, Canada. Testament released their first studio album in nine years, The Formation of Damnation, on April 29, 2008, through Nuclear Blast Records. It was the first Testament album to feature Alex Skolnick on guitar since 1992's The Ritual, and the first to feature bassist Greg Christian since 1994's Low. The band was confirmed to be the main event on the first day of the "Gillmanfest," a rock festival to be held on May 24, 2008, in Valencia, Venezuela, visiting Colombia for the second time in the band's extensive career. In June 2008, Testament headlined the 3rd stage at Download Festival, held at Donington Park, UK. The band also toured the US as a supporting act for Judas Priest, Heaven & Hell, and Motörhead on the "Metal Masters Tour". The band announced that they had recruited guitarist Glen Drover (ex-Megadeth and King Diamond) to fill in on their upcoming Mexican tour dates with Judas Priest, due to Alex Skolnick's prior commitment to the Trans-Siberian Orchestra. Testament would embark on the "Priest Feast" European tour with headliners Judas Priest and Megadeth in February and March 2009. On March 25, 2009, Testament played a special one-off show at the O2 Islington Academy in London, where they performed their first two albums (The Legacy and The New Order) back-to-back, with British thrash band Sylosis in support. Also in 2009, Testament set out on a 6-week tour across the US to promote The Formation of Damnation, touring with Unearth and Lazarus A.D. In early 2010, Testament toured the United States with Megadeth and Exodus. Alex Skolnick did not participate in the tour due to previous obligations and Glen Drover again filled in for him. In the summer of 2010, the band toured Australia, and supported Megadeth and Slayer on the American Carnage Tour. Testament also headlined for the first time in the Philippines for the annual Pulp Summer Slam on April 17, 2010 with heavy metal band Lamb of God. Dark Roots of Earth (2010–2013) As early as 2009, Testament started writing new material for their tenth album. In an interview with Metalheadz, Peterson stated that there were about four songs written and that "there's other guys in the band who like to play the more rock melodic style but the next one is gonna be a bit heavier." In a January 2011 interview during the 70000 Tons of Metal cruise, Billy revealed that Testament had been working on six new songs, with four or five "maybe left to write," and would begin recording their new album by early March. On May 18, 2011, Skolnick posted an update on his Twitter, saying, "Another tune done! My riffs from last week [plus] some of [fellow Testament guitarist Eric Peterson's] plus new ones we wrote today. Planning one more, then we've got more than we need." Testament began recording their tenth studio album on June 20, 2011. Paul Bostaph was unable to take part in the recording due to a "serious injury", although he was expected to rejoin when the band began touring to support the album. Bostaph was replaced by Gene Hoglan, who had played drums with Testament on their 1997 album Demonic. Testament appeared at the California dates of the summer 2011 Rockstar Energy Drink Mayhem Festival, replacing In Flames. The band toured in the fall of 2011 with Anthrax and Death Angel. Overkill was invited to the tour, but due to the pre-production of their sixteenth studio album The Electric Age, they did not participate. John Tempesta filled in for Bostaph on the tour. It was announced on December 1, 2011 that Paul Bostaph had left Testament. Gene Hoglan, who had recorded the drum tracks for the new album, was brought back after the band had expressed pleasure in his playing, hoping that he would continue with the band for the foreseeable future. After many delays, the band's tenth studio album Dark Roots of Earth was released on July 27, 2012. The album debuted at No. 12 on the Billboard 200, their highest chart position to date. Lamb of God drummer Chris Adler made a guest appearance on the bonus track "A Day in the Death". Dark Roots of Thrash and Brotherhood of the Snake (2013–2019) In August 2012, Peterson stated that Testament would record an eleventh studio album if Dark Roots of Earth did well. A week prior to the release of Dark Roots of Earth, Billy promised that Testament would not take "huge gaps" between albums anymore, and would "work hard and tour for two years or so," and try to release another album when they could. Hoglan had also said that he would "absolutely dig" to be a part of the writing of the next Testament album. On September 13, 2013, Billy told Rock Overdose that from January to April 2014, Testament would be writing and recording their eleventh studio album for a 2014 release. Testament released a live DVD/double album Dark Roots of Thrash on October 15, 2013. The release documents the band's sold-out headlining performance at the Paramount in Huntington, New York, in February 2013. In January 2014, bassist Greg Christian left Testament again, and was replaced by a returning Steve Di Giorgio. Christian has claimed that the reasons behind his departure were because of money disputes and differences with the band. When asked in an April 2015 interview about Testament's plans to begin recording their twelfth album, Peterson said that his "main goal" was to "get home [from tour] in June, finish it up and get in the studio by September." Billy also said that the band's goal was to have the album finished by Thanksgiving. Slovenian bassist Tilen Hudrap (Pestilence, Vicious Rumors, Paradox, Thraw) and Bay Area drummer Alex Bent (Arkaik, Dragonlord, Decrepit Birth, Battlecross) filled in for Di Giorgio and Hoglan respectively at the prestigious Canadian open-air festival Heavy Montreal in August 2015, which was attended by more than 70,000 spectators. In May 2016, Billy confirmed their twelfth album would be entitled Brotherhood of the Snake. Of the album's lyrical content, he commented, "The Brotherhood of the Snake was actually a society about 6,000 years ago that debarred all religions. It was just a fascinating topic that caught our eye and attention and spawned a lot of songs. We're going with that vibe. There will be some songs that deviate, but the majority will be around that and aliens and religion. Then I'll probably tap into my native heritage and write some songs about that. It's not just going to be one concept, but there is some interesting stuff that we're finding to write about." Brotherhood of the Snake was released on October 28, 2016, and received generally positive reviews from critics, and scored Testament their second-highest chart position on the Billboard 200, peaking at number twenty. Shortly after its release, Testament embarked on an international tour with Amon Amarth, and toured North America in April–May 2017 with Sepultura, Prong, Infernal Tenebra and Dying Gorgeous Lies. The band also toured Europe with Annihilator and Death Angel in November and December 2017, and again in March and April 2018, with Annihilator and Vader supporting. Along with Anthrax, Lamb of God, Behemoth and Napalm Death, Testament opened for Slayer on their final North American tour, which took place in the spring and summer of 2018. Testament also performed at Megadeth's first-ever cruise called Megacruise in October 2019. Titans of Creation and planned fourteenth studio album (2019–present) By March 2017, Testament had begun writing the follow-up to Brotherhood of the Snake, with plans to release it in 2018. Billy stated in March 2018 that Testament would start working on their thirteenth studio album after they finish touring in support of Brotherhood of the Snake in August, hoping not to repeat the four-year gaps between their last three albums. He later stated that opening for Slayer on their farewell tour would be "the final lap for [them] touring" in support of Brotherhood of the Snake. Work on the follow-up album began in February 2019, and pre-production began in May with Andy Sneap as the mixer. Drummer Gene Hoglan revealed in a June 2019 interview on the "Talk Toomey" podcast that the band had finished recording the album for a 2019 or early 2020 release. Peterson later stated that it would be released in January 2020. The band, along with Exodus and Death Angel, took part in The Bay Strikes Back tour of Europe in February and March 2020. Following the tour, Chuck Billy and his wife Tiffany tested positive for COVID-19, making him the third person to have contracted the virus during the tour following Will Carroll of Death Angel and Gary Holt of Exodus. Bassist Steve Di Giorgio was later diagnosed with COVID-19, becoming the second member of Testament to have tested positive for the condition. Testament released their thirteenth studio album Titans of Creation on April 3, 2020. They were due to headline a US tour to promote the album, with support provided by The Black Dahlia Murder, Municipal Waste and Meshiaak, but it was postponed due to the COVID-19 pandemic. For this reason, Testament did not tour in support of Titans of Creation for over a-year-and-a-half; touring for the album was scheduled to start in the fall of 2021, with the band resuming their Bay Strikes Back tour in the US with Exodus and Death Angel, but the COVID pandemic led to its postponement to the spring of 2022. Following this will be summer European tour, which will include festival appearances, as well as headlining dates with Exodus, Death Angel and Heathen, and one with Sepultura. In a May 2020 interview with Exodus and former Legacy frontman Steve "Zetro" Souza on his "Toxic Vault" video channel, Billy was asked if he was going to write another Testament album during the COVID-19 pandemic. His response was, "We're not writing a record yet. I won't release what we're doing, but we are gonna write some stuff. Just to do something, not a record but maybe something just to have some singles." In a July 2020 interview with Australia's Riff Crew, Billy commented on his take on the possibility of writing another Testament album during the pandemic, saying, "Well, if it is truly, as someone says, a two-year period, of course, we're gonna go write another record, and when it all settles, we'll have two records… And if it had to be that long, then, yeah, we would probably consider just writing another record." Peterson reiterated Billy's comments in September 2020 that the band could work on new material before they tour to support Titans of Creation. In a March 2021 interview on Alive & Streaming, an internet podcast hosted by Death Angel guitarist Ted Aguilar, Billy confirmed that Peterson has been writing new material for what could result in the next Testament album. On January 21, 2022, the band and longtime drummer Gene Hoglan announced on their respective social media accounts that he had once again left Testament to pursue "an exciting new chapter of [his] career and free agency, with all that it will entail." Legacy and influence Inspired by the new wave of British heavy metal and local Bay Area music scenes, Testament has been credited as one of the leaders of the second wave of thrash metal in the late 1980s, as well as one of the most influential Bay Area thrash metal acts. AllMusic described them as "one of the first thrash acts to emerge from the Bay Area in Metallica's wake during the '80s." Numerous hard rock and heavy metal acts such as Aerosmith, AC/DC, Angel Witch, Black Sabbath, Boston, Deep Purple, Def Leppard, Dio, Iron Maiden, Judas Priest, Kiss, Led Zeppelin, the Michael Schenker Group, Montrose, Ozzy Osbourne (particularly the Randy Rhoads era), Samson, Saxon, Scorpions, The Sweet, Thin Lizzy, UFO (particularly the Michael Schenker era), Van Halen and Venom have been cited as an influence or inspiration behind Testament's music. The band's other musical influences include The Beatles, as well as guitar players like Jeff Beck, Chuck Berry, Jimi Hendrix, Yngwie Malmsteen, Frank Marino, Mahogany Rush, Pat Travers and Johnny Winter, and their Bay Area thrash metal contemporaries Metallica and Exodus. Testament has influenced multiple bands, such as Pantera, Sepultura, Death Angel, Annihilator, White Zombie, Korn, Machine Head, Drowning Pool, Kataklysm, Lamb of God, Morbid Angel, Cannibal Corpse, Entombed, Gojira, Killswitch Engage, Exhorder, Havok, Evile, Blind Guardian, Sevendust, Suicidal Angels, Trivium, Nightwish, Shadows Fall, Terror, Unearth, Skeletonwitch, Warbringer, Primal Fear, Fight, Sons of Texas, Incite, Demolition Hammer, and Forced Entry. In the video for Bowling for Soup's "Punk Rock 101", guitarist and vocalist Jaret Reddick can be seen wearing one of Testament's t-shirts. Members Current members Eric Peterson – lead and rhythm guitar, backing vocals Chuck Billy – lead vocals Alex Skolnick – lead guitar, backing vocals Steve Di Giorgio – bass , backing vocals Discography The Legacy (1987) The New Order (1988) Practice What You Preach (1989) Souls of Black (1990) The Ritual (1992) Low (1994) Demonic (1997) The Gathering (1999) First Strike Still Deadly (2001) The Formation of Damnation (2008) Dark Roots of Earth (2012) Brotherhood of the Snake (2016) Titans of Creation (2020) References External links 1983 establishments in California Musical groups established in 1983 Musical groups from Berkeley, California Musical quintets Nuclear Blast artists Thrash metal musical groups from California	false	[ "Skye Wallace is a Canadian singer-songwriter currently based in Toronto, Ontario. Wallace has released four studio albums: This Is How We Go (2013), Living Parts (2014), Something Wicked (2016), and Skye Wallace (2019). Wallace opened for Matt Mays on his 2019 tour.\n\nDiscography\n\nStudio albums \n\n This Is How We Go (2013)\n Living Parts (2014)\n Something Wicked (2016)\n Skye Wallace (2019)\n\nSingles \n\n \"Blood Moon\" / \"Mean Song 2\" (2016)\n \"Scarlet Fever\" (2017)\n \"There is a Wall\" (2019)\n \"Coal in Your Window\" (2019)\n\nReferences \n\nLiving people\nCanadian singer-songwriters\nYear of birth missing (living people)", "The Bob Dylan England Tour 1965 was a concert tour by American singer-songwriter Bob Dylan during late April and early May 1965. The tour was widely documented by filmmaker D. A. Pennebaker, who used the footage of the tour in his documentary Dont Look Back.\n\nTour dates\n\nSet lists \nAs Dylan was still playing exclusively folk music live, much of the material performed during this tour was written pre-1965. Each show was divided into two halves, with seven songs performed during the first, and eight during the second. The set consisted of two songs from The Freewheelin' Bob Dylan, three from The Times They Are a-Changin', three from Another Side of Bob Dylan, a comic-relief concert staple; \"If You Gotta Go, Go Now\", issued as a single in Europe, and six songs off his then-recent album, Bringing It All Back Home, including the second side in its entirety.\n\n First half\n\"The Times They Are a-Changin'\"\n\"To Ramona\"\n\"Gates of Eden\"\n\"If You Gotta Go, Go Now (or Else You Got to Stay All Night)\"\n\"It's Alright, Ma (I'm Only Bleeding)\"\n\"Love Minus Zero/No Limit\"\n\"Mr. Tambourine Man\"\n\nSecond Half\n\"Talkin' World War III Blues\"\n\"Don't Think Twice, It's All Right\"\n\"With God on Our Side\"\n\"She Belongs to Me\"\n\"It Ain't Me Babe\"\n\"The Lonesome Death of Hattie Carroll\"\n\"All I Really Want to Do\"\n\"It's All Over Now, Baby Blue\"\n\nSet list per Olof Bjorner.\n\nAftermath \nJoan Baez accompanied him on the tour, but she was never invited to play with him in concert. In fact, they did not tour together again until 1975. After this tour, Dylan was hailed as a hero of folk music, but two months later, at the 1965 Newport Folk Festival, he would alienate his fans and go electric. Dylan was the only artist apart from the Beatles to sell out the De Montfort Hall in the 1960s. Even the Rolling Stones did not sell out this venue.\n\nReferences \n\nHoward Sounes: Down the Highway. The Life of Bob Dylan.. 2001.\n\nExternal links \n Bjorner's Still on the Road 1965: Tour dates & set lists\n\nBob Dylan concert tours\n1965 concert tours\nConcert tours of the United Kingdom\n1965 in England" ]
[ "Richard Stallman", "Harvard University and MIT" ]	C_48eeef8db60c4df68ba565e3cc185e20_1	What did he do at Harvard?	1	What did Richard Stallman do at Harvard?	Richard Stallman	As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS (which was the name of his computer accounts). Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead he decided to enroll as a graduate student at MIT. He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. As of 2009, the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO, Emacs for ITS, and the Lisp machine operating system (the CONS of 1974-1976 and the CADR of 1977-1979--this latter unit was commercialized by Symbolics and LMI starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency. When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20% of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. CANNOTANSWER	As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55.	Richard Matthew Stallman (; born March 16, 1953), also known by his initials, rms, is an American free software movement activist and programmer. He campaigns for software to be distributed in such a manner, so that its users receive the freedoms to use, study, distribute, and modify that software. Software that ensures these freedoms is termed free software. Stallman launched the GNU Project, founded the Free Software Foundation, developed the GNU Compiler Collection and GNU Emacs, and wrote the GNU General Public License. Stallman launched the GNU Project in September 1983 to write a Unix-like computer operating system composed entirely of free software. With this, he also launched the free software movement. He has been the GNU project's lead architect and organizer, and developed a number of pieces of widely used GNU software including, among others, the GNU Compiler Collection, GNU Debugger, and GNU Emacs text editor. In October 1985 he founded the Free Software Foundation (FSF). Stallman pioneered the concept of copyleft, which uses the principles of copyright law to preserve the right to use, modify, and distribute free software. He is the main author of free software licenses which describe those terms, most notably the GNU General Public License (GPL), the most widely used free software license. In 1989, he co-founded the League for Programming Freedom. Since the mid-1990s, Stallman has spent most of his time advocating for free software, as well as campaigning against software patents, digital rights management (which he refers to as digital restrictions management, calling the more common term misleading), and other legal and technical systems which he sees as taking away users' freedoms. This has included software license agreements, non-disclosure agreements, activation keys, dongles, copy restriction, proprietary formats, and binary executables without source code. In September 2019, Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT after making controversial comments about the Jeffrey Epstein sex trafficking scandal. Stallman remained head of the GNU Project, and in 2021 returned to the FSF board of directors. Early life Stallman was born March 16, 1953, in New York City, to a family of Jewish heritage. He had a troublesome relationship with his parents and did not feel he had a proper home. He was interested in computers at a young age; when Stallman was a pre-teen at a summer camp, he read manuals for the IBM 7094. From 1967 to 1969, Stallman attended a Columbia University Saturday program for high school students. Stallman was also a volunteer laboratory assistant in the biology department at Rockefeller University. Although he was interested in mathematics and physics, his supervising professor at Rockefeller thought he showed promise as a biologist. His first experience with actual computers was at the IBM New York Scientific Center when he was in high school. He was hired for the summer in 1970, following his senior year of high school, to write a numerical analysis program in Fortran. He completed the task after a couple of weeks ("I swore that I would never use FORTRAN again because I despised it as a language compared with other languages") and spent the rest of the summer writing a text editor in APL and a preprocessor for the PL/I programming language on the IBM System/360. Harvard University and MIT As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS, which he used in his computer accounts. Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead decided to enroll as a graduate student at the Massachusetts Institute of Technology (MIT). He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. , the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO and Emacs for the Incompatible Timesharing System (ITS), as well as the Lisp machine operating system (the CONS of 1974–1976 and the CADR of 1977–1979—this latter unit was commercialized by Symbolics and Lisp Machines, Inc. (LMI) starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency (DARPA). When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20 percent of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. Events leading to GNU In the late 1970s and early 1980s, the hacker culture that Stallman thrived on began to fragment. To prevent software from being used on their competitors' computers, most manufacturers stopped distributing source code and began using copyright and restrictive software licenses to limit or prohibit copying and redistribution. Such proprietary software had existed before, and it became apparent that it would become the norm. This shift in the legal characteristics of software was a consequence triggered by the US Copyright Act of 1976. When Brian Reid in 1979 placed time bombs in the Scribe markup language and word processing system to restrict unlicensed access to the software, Stallman proclaimed it "a crime against humanity". During an interview in 2008, he clarified that it is blocking the user's freedom that he believes is a crime, not the issue of charging for software. Stallman's texinfo is a GPL replacement, loosely based on Scribe; the original version was finished in 1986. In 1980, Stallman and some other hackers at the AI Lab were refused access to the source code for the software of a newly installed laser printer, the Xerox 9700. Stallman had modified the software for the Lab's previous laser printer (the XGP, Xerographic Printer), so it electronically messaged a user when the person's job was printed, and would message all logged-in users waiting for print jobs if the printer was jammed. Not being able to add these features to the new printer was a major inconvenience, as the printer was on a different floor from most of the users. This experience convinced Stallman of people's need to be able to freely modify the software they use. Richard Greenblatt, a fellow AI Lab hacker, founded Lisp Machines, Inc. (LMI) to market Lisp machines, which he and Tom Knight designed at the lab. Greenblatt rejected outside investment, believing that the proceeds from the construction and sale of a few machines could be profitably reinvested in the growth of the company. In contrast, the other hackers felt that the venture capital-funded approach was better. As no agreement could be reached, hackers from the latter camp founded Symbolics, with the aid of Russ Noftsker, an AI Lab administrator. Symbolics recruited most of the remaining hackers including notable hacker Bill Gosper, who then left the AI Lab. Symbolics also forced Greenblatt to resign by citing MIT policies. While both companies delivered proprietary software, Stallman believed that LMI, unlike Symbolics, had tried to avoid hurting the lab's community. For two years, from 1982 to the end of 1983, Stallman worked by himself to clone the output of the Symbolics programmers, with the aim of preventing them from gaining a monopoly on the lab's computers. Stallman argues that software users should have the freedom to share with their neighbors and be able to study and make changes to the software that they use. He maintains that attempts by proprietary software vendors to prohibit these acts are antisocial and unethical. The phrase "software wants to be free" is often incorrectly attributed to him, and Stallman argues that this is a misstatement of his philosophy. He argues that freedom is vital for the sake of users and society as a moral value, and not merely for pragmatic reasons such as possibly developing technically superior software. Eric S. Raymond, one of the creators of the open-source movement, argues that moral arguments, rather than pragmatic ones, alienate potential allies and hurt the end goal of removing code secrecy. In February 1984, Stallman quit his job at MIT to work full-time on the GNU project, which he had announced in September 1983. Since then, he had remained affiliated with MIT as an unpaid "visiting scientist" in the Computer Science and Artificial Intelligence Laboratory. Until "around 1998", he maintained an office at the Institute that doubled as his legal residence. GNU project Stallman announced the plan for the GNU operating system in September 1983 on several ARPANET mailing lists and USENET. He started the project on his own and describes: "As an operating system developer, I had the right skills for this job. So even though I could not take success for granted, I realized that I was elected to do the job. I chose to make the system compatible with Unix so that it would be portable, and so that Unix users could easily switch to it." In 1985, Stallman published the GNU Manifesto, which outlined his motivation for creating a free operating system called GNU, which would be compatible with Unix. The name GNU is a recursive acronym for "GNU's Not Unix". Soon after, he started a nonprofit corporation called the Free Software Foundation to employ free software programmers and provide a legal infrastructure for the free software movement. Stallman was the nonsalaried president of the FSF, which is a 501(c)(3) nonprofit organization founded in Massachusetts. Stallman popularized the concept of copyleft, a legal mechanism to protect the modification and redistribution rights for free software. It was first implemented in the GNU Emacs General Public License, and in 1989 the first program-independent GNU General Public License (GPL) was released. By then, much of the GNU system had been completed. Stallman was responsible for contributing many necessary tools, including a text editor (Emacs), compiler (GCC), debugger (GNU Debugger), and a build automator (GNU make). The notable omission was a kernel. In 1990, members of the GNU project began using Carnegie Mellon's Mach microkernel in a project called GNU Hurd, which has yet to achieve the maturity level required for full POSIX compliance. In 1991, Linus Torvalds, a Finnish student, used the GNU's development tools to produce the free monolithic Linux kernel. The existing programs from the GNU project were readily ported to run on the resultant platform. Most sources use the name Linux to refer to the general-purpose operating system thus formed, while Stallman and the FSF call it GNU/Linux. This has been a longstanding naming controversy in the free software community. Stallman argues that not using GNU in the name of the operating system unfairly disparages the value of the GNU project and harms the sustainability of the free software movement by breaking the link between the software and the free software philosophy of the GNU project. Stallman's influences on hacker culture include the name POSIX and the Emacs editor. On Unix systems, GNU Emacs's popularity rivaled that of another editor vi, spawning an editor war. Stallman's take on this was to canonize himself as St. IGNUcius of the Church of Emacs and acknowledge that "vi vi vi is the editor of the beast", while "using a free version of vi is not a sin; it is a penance". On his homepage Stallman explains what a life in the Church of Emacs means to its members: "Sainthood in the Church of Emacs requires living a life of purity—but in the Church of Emacs, this does not require celibacy (a sigh of relief is heard)". In 1992, developers at Lucid Inc. doing their own work on Emacs clashed with Stallman and ultimately forked the software into what would become XEmacs. The technology journalist Andrew Leonard has characterized what he sees as Stallman's uncompromising stubbornness as common among elite computer programmers: In 2018, Stallman instituted "Kind Communication Guidelines" for the GNU project to help its mailing list discussions remain constructive while avoiding explicitly promoting diversity. In October 2019, a public statement signed by 33 maintainers of the GNU project asserted that Stallman's behaviour had "undermined a core value of the GNU project: the empowerment of all computer users" and called for "GNU maintainers to collectively decide about the organization of the project". The statement was published soon after Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT in September 2019. In spite of that, Stallman remained head of the GNU project. Activism Stallman has written many essays on software freedom, and has been an outspoken political campaigner for the free software movement since the early 1990s. The speeches he has regularly given are titled The GNU Project and the Free Software Movement, The Dangers of Software Patents, and Copyright and Community in the Age of Computer Networks. In 2006 and 2007, during the eighteen month public consultation for the drafting of version 3 of the GNU General Public License, he added a fourth topic explaining the proposed changes. Stallman's staunch advocacy for free software inspired the creation of the Virtual Richard M. Stallman (vrms), software that analyzes the packages currently installed on a Debian GNU/Linux system, and reports those that are from the non-free tree. Stallman disagrees with parts of Debian's definition of free software. In 1999, Stallman called for development of a free online encyclopedia through the means of inviting the public to contribute articles. The resulting GNUPedia was eventually retired in favour of the emerging Wikipedia, which had similar aims and was enjoying greater success. Stallman is a world traveler and has visited at least 65 countries, mostly to speak about free software and the GNU project. According to Stallman, the free software movement has much in common with that of Mahatma Gandhi. Stallman is also highly critical of the effect that drug patents have had on developing countries. In Venezuela, Stallman has delivered public speeches and promoted the adoption of free software in the state's oil company (PDVSA), in municipal government, and in the nation's military. In meetings with Hugo Chávez and in public speeches, Stallman criticised some policies on television broadcasting, free speech rights, and privacy. Stallman was on the Advisory Council of Latin American television station teleSUR from its launch but resigned in February 2011, criticizing pro-Gaddafi propaganda during the Arab Spring. In August 2006, at his meetings with the government of the Indian State of Kerala, he persuaded officials to discard proprietary software, such as Microsoft's, at state-run schools. This has resulted in a landmark decision to switch all school computers in 12,500 high schools from Windows to a free software operating system. After personal meetings, Stallman obtained positive statements about the free software movement from the then-president of India, , French 2007 presidential candidate Ségolène Royal, and the president of Ecuador Rafael Correa. Stallman has participated in protests about software patents, digital rights management, and proprietary software. Protesting against proprietary software in April 2006, Stallman held a "Don't buy from ATI, enemy of your freedom" placard at a speech by an ATI representative in the building where Stallman worked, resulting in the police being called. AMD has since acquired ATI and has taken steps to make their hardware documentation available for use by the free software community. In response to Apple's Macintosh look and feel lawsuits against Microsoft and Hewlett-Packard in 1988, Stallman called for a boycott of Apple products on the grounds that a successful look and feel lawsuit would "put an end to free software that could substitute for commercial software". The boycott was lifted in 1995, which meant the FSF started to accept patches to GNU software for Apple operating systems. Stallman has characterized Steve Jobs as having a "malign influence" on computing because of Jobs' leadership in guiding Apple to produce closed platforms. In 1993, while Jobs was at NeXT, Jobs asked Stallman if he could distribute a modified GCC in two parts, one part under GPL and the other part, an Objective-C preprocessor under a proprietary license. Stallman initially thought this would be legal, but since he also thought it would be "very undesirable for free software", he asked a lawyer for advice. The response he got was that judges would consider such schemes to be "subterfuges" and would be very harsh toward them, and a judge would ask whether it was "really" one program, rather than how the parts were labeled. Therefore, Stallman sent a message back to Jobs which said they believed Jobs' plan was not allowed by the GPL, which resulted in NeXT releasing the Objective-C front end under GPL. For a period of time, Stallman used a notebook from the One Laptop per Child program. Stallman's computer is a refurbished ThinkPad T400s with Libreboot, a free BIOS replacement, and the GNU/Linux distribution Trisquel. Before the ThinkPad T400s, Stallman used a Thinkpad X60 with Libreboot and Trisquel GNU/Linux. And before the X60, Stallman used the Lemote Yeeloong netbook (using the same company's Loongson processor) which he chose because, like the X60 and the T400s, it could run with free software at the BIOS level, stating "freedom is my priority. I've campaigned for freedom since 1983, and I am not going to surrender that freedom for the sake of a more convenient computer." Stallman's Lemote was stolen from him in 2012 while in Argentina. Before Trisquel, Stallman has used the gNewSense operating system. Copyright reduction Stallman has regularly given a talk entitled "Copyright vs. Community" where he reviews the state of digital rights management (DRM) and names many of the products and corporations which he boycotts. His approach to DRM is best summed up by the FSF Defective by Design campaign. In the talks, he makes proposals for a "reduced copyright" and suggests a 10-year limit on copyright. He suggests that, instead of restrictions on sharing, authors be supported using a tax, with revenues distributed among them based on cubic roots of their popularity to ensure that "fairly successful non-stars" receive a greater share than they do now (compare with private copying levy which is associated with proponents of strong copyright), or a convenient anonymous micropayment system for people to support authors directly. He indicates that no form of non-commercial sharing of copies should be considered a copyright violation. He has advocated civil disobedience in a comment on Ley Sinde. Stallman has also helped and supported the International Music Score Library Project in getting back online, after it had been taken down on October 19, 2007, following a cease and desist letter from Universal Edition. Stallman mentions the dangers some e-books bring compared to paper books, with the example of the Amazon Kindle e-reader that prevents the copying of e-books and allows Amazon to order automatic deletion of a book. He says that such e-books present a big step backward with respect to paper books by being less easy to use, copy, lend to others or sell, also mentioning that Amazon e-books cannot be bought anonymously. His short story "The Right to Read" provides a picture of a dystopian future if the right to share books is impeded. He objects to many of the terms within typical end-user license agreements that accompany e-books. Stallman discourages the use of several storage technologies such as DVD or Blu-ray video discs because the content of such media is encrypted. He considers manufacturers' use of encryption on non-secret data (to force the user to view certain promotional material) as a conspiracy. He recognized the Sony BMG copy protection rootkit scandal to be a criminal act by Sony. Stallman supports a general boycott of Sony for its legal actions against George Hotz. Stallman has suggested that the United States government may encourage the use of software as a service because this would allow them to access users' data without needing a search warrant. He denies being an anarchist despite his wariness of some legislation and the fact that he has "advocated strongly for user privacy and his own view of software freedom". Terminologies Stallman places great importance on the words and labels people use to talk about the world, including the relationship between software and freedom. He asks people to say free software and GNU/Linux, and to avoid the terms intellectual property and piracy (in relation to copying not approved by the publisher). One of his criteria for giving an interview to a journalist is that the journalist agrees to use his terminology throughout the article. He has been known to turn down speaking requests over some terminology issues. Stallman argues that the term intellectual property is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark, and other areas of law by lumping together things that are more dissimilar than similar. He also argues that by referring to these laws as property laws, the term biases the discussion when thinking about how to treat these issues, writing: An example of cautioning others to avoid other terminology while also offering suggestions for possible alternatives is this sentence of an e-mail by Stallman to a public mailing list: Open source and Free software His requests that people use certain terms, and his ongoing efforts to convince people of the importance of terminology, are a source of regular misunderstanding and friction with parts of the free software and open-source communities. After initially accepting the concept, Stallman rejects a common alternative term, open-source software, because it does not call to mind what Stallman sees as the value of the software: freedom. He wrote, "Free software is a political movement; open source is a development model." Thus, he believes that the use of the term will not inform people of the freedom issues, and will not lead to people valuing and defending their freedom. Two alternatives which Stallman does accept are software libre and unfettered software, but free software is the term he asks people to use in English. For similar reasons, he argues for the term proprietary software or non-free software rather than closed-source software, when referring to software that is not free software. Linux and GNU Stallman asks that the term GNU/Linux, which he pronounces , be used to refer to the operating system created by combining the GNU system and the kernel Linux. Stallman refers to this operating system as "a variant of GNU, and the GNU Project is its principal developer". He claims that the connection between the GNU project's philosophy and its software is broken when people refer to the combination as merely Linux. Starting around 2003, he began also using the term GNU+Linux, which he pronounces , to prevent others from pronouncing the phrase GNU/Linux as , which would erroneously imply that the kernel Linux is maintained by the GNU project. The creator of Linux, Linus Torvalds, has publicly stated that he objects to modification of the name, and that the rename "is their [the FSF] confusion not ours". Surveillance resistance Stallman professes admiration for Julian Assange and Edward Snowden. He has spoken against government and corporate surveillance on many occasions. He refers to mobile phones as "portable surveillance and tracking devices", refusing to own a cell phone due to the lack of phones running entirely on free software. He also avoids using a key card to enter his office building since key card systems track each location and time that someone enters the building using a card. He usually does not browse the web directly from his personal computer. Instead, he uses GNU Womb's grab-url-from-mail utility, an email-based proxy which downloads the web page content and then emails it to the user. More recently, he stated that he accesses all web sites via Tor, except for Wikipedia (which generally disallows editing from Tor unless users have an IP block exemption). Personal life Stallman resides in Cambridge, Massachusetts. He speaks English, French, Spanish and some Indonesian. He has said that he is "an atheist of Jewish ancestry" and often wears a button that reads "Impeach God". Stallman has written a collection of filk music and parody songs. He is childfree and antinatalist. He denies having Asperger's, but has sometimes speculated whether he could have a "shadow" version of it. Resignation from MIT and FSF In August and September 2019, it was learned that Jeffrey Epstein had made donations to MIT, and in the wake of this, MIT Media Lab director Joi Ito resigned. An internal MIT CSAIL listserv mailing list thread was started to protest the coverup of MIT's connections to Epstein. In the thread, discussion had turned to deceased MIT professor Marvin Minsky, who was named by Virginia Giuffre as one of the people that Epstein had directed her to have sex with. Giuffre, a minor at the time, had been caught in Epstein's underage sex trafficking ring. In response to a comment where one reply stated that Minsky "is accused of assaulting one of Epstein's victims", Stallman questioned whether the word "assault" was applicable in that case, arguing that "the most plausible scenario is that she presented herself to him as entirely willing. Assuming she was being coerced by Epstein, he would have had every reason to conceal that from most of his associates". When challenged by other members of the mailing list, he added "It is morally absurd to define 'rape' in a way that depends on minor details such as which country it was in or whether the victim was 18 years old or 17". Stallman remained critical of Epstein and his role, stating "We know that Giuffre was being coerced into sex – by Epstein. She was being harmed." Stallman's comments along with a compilation of accusations against him were published to the public via Medium by Selam Gano, who outlined MIT alumnae claims of sexual harassment and contributions to a hostile environment by Stallman. Vice published a copy of the email chain on September 13, 2019, drawing attention to Stallman's comments. Stallman's writings from 2013 and earlier related to underage sex and child pornography laws resurfaced, increasing the controversy. Tied to his comments regarding Minsky, this led to several calling for Stallman's resignation. On September 14, Stallman acknowledged that since the time of his past writings, he had learned that there were problems with underage sex, writing on his blog: "Through personal conversations in recent years, I've learned to understand how sex with a child can harm per psychologically. This changed my mind about the matter: I think adults should not do that." On September 16, Stallman announced his resignation from both MIT and FSF, "due to pressure on MIT and me over a series of misunderstandings and mischaracterizations". In a post on his website, Stallman asserted that his posts to the email lists were not to defend Epstein, stating "Nothing could be further from the truth. I've called him a 'serial rapist,' and said he deserved to be imprisoned. But many people now believe I defended him—and other inaccurate claims—and feel a real hurt because of what they believe I said. I'm sorry for that hurt. I wish I could have prevented the misunderstanding." Return to FSF In March 2021, at LibrePlanet2021, Stallman announced his return to the FSF board of directors. Shortly thereafter, an open letter was published on GitHub asking for Stallman's removal, along with the entire FSF board of directors, with the support of prominent open-source organizations including GNOME and Mozilla. The letter includes a list of accusations against Stallman. In response, an open letter asking for the FSF to retain Stallman was also published, arguing that Stallman's statements were mischaracterized, misunderstood and that they need to be interpreted in context. The FSF board in April 12 made a statement re-affirming its decision to bring back Richard Stallman. Following this, Stallman issued a statement explaining his poor social skills and apologizing. Multiple organizations criticized, defunded and/or cut ties with the FSF, including: Red Hat, the Free Software Foundation Europe, the Software Freedom Conservacy, SUSE, the OSI, the Document Foundation, the EFF, KDE, and the Tor Project. Debian declined to issue a statement after a community voting on the issue. However, this had relatively little impact on the FSF, as it has stated that direct financial support from corporations accounted for less than 3% of its revenue in the most recent fiscal year. Honors and awards 1986: Honorary lifetime membership of the Chalmers University of Technology Computer Society 1990: Exceptional merit award MacArthur Fellowship ("genius grant") 1990: The Association for Computing Machinery's Grace Murray Hopper Award "For pioneering work in the development of the extensible editor EMACS (Editing Macros)" 1996: Honorary doctorate from Sweden's Royal Institute of Technology 1998: Electronic Frontier Foundation's Pioneer Award 1999: Yuri Rubinsky Memorial Award 2001: The Takeda Techno-Entrepreneurship Award for Social/Economic Well-Being () 2001: Honorary doctorate, from the University of Glasgow 2002: US National Academy of Engineering membership "for starting the GNU project, which produced influential, non-proprietary software tools, and for founding the free software movement" 2003: Honorary doctorate, from the Vrije Universiteit Brussel 2004: Honorary doctorate, from the Universidad Nacional de Salta 2004: Honorary professorship, from the Universidad Nacional de Ingeniería del Perú 2007: Honorary professorship, from the Universidad Inca Garcilaso de la Vega 2007: First Premio Internacional Extremadura al Conocimiento Libre 2007: Honorary doctorate, from the Universidad de Los Angeles de Chimbote 2007: Honorary doctorate, from the University of Pavia 2008: Honorary doctorate from the Universidad Nacional de Trujillo, in Peru 2009: Honorary doctorate, from Lakehead University 2011: Honorary doctorate, from National University of Córdoba 2012: Honorary professorship, from the Universidad César Vallejo de Trujillo, in Peru 2012: Honorary doctorate, from the Universidad Latinoamericana Cima de Tacna, in Peru 2012: Honorary doctorate, from the Universidad José Faustino Sánchez Carrión, in Peru 2014: Honorary doctorate, from Concordia University, in Montréal 2015: ACM Software System Award "For the development and leadership of GCC" 2016: Honorary doctorate, from Pierre and Marie Curie University 2016: Social Medicine award, from GNU Solidario Selected publications Manuals Selected essays See also 9882 Stallman Free as in Freedom, a biography by Sam Williams Free Software Street History of free and open-source software Lisp Machine Lisp Revolution OS vrms Free Software Foundation References External links In Support of Richard Stallman, a website which advocates for Stallman. Essays on the Philosophy of the GNU Project, almost all written by Stallman 1953 births Activists from New York City Jewish American atheists American bloggers American computer programmers Anti-natalists Articles containing video clips Artificial intelligence researchers Copyright activists Education activists Emacs Filkers Free software people Free software programmers GNU people Grace Murray Hopper Award laureates Harvard School of Engineering and Applied Sciences alumni Internet activists Jewish American scientists Linux people Lisp (programming language) people Living people MacArthur Fellows Massachusetts Institute of Technology School of Science alumni Members of the Free Software Foundation board of directors Members of the United States National Academy of Engineering Privacy activists Programming language designers	true	[ "William Warntz (1922–1988) was an American mathematical geographer based at the Harvard Laboratory for Computer Graphics and Spatial Analysis. He was a \"pioneer in mathematical approaches to spatial analysis\".\n\nLife\nWarntz studied economics at the University of Pennsylvania, gaining a PhD there. His papers are held at Cornell University Library.\n\nWorks\n Toward a geography of price; a study in geo-econometrics, 1959\n Geography now and then: some notes on the history of academic geography in the United States, 1964\n Geographers and what they do, 1964\n Macrogeography and income fronts, 1965\n Breakthroughs in geography, 1971\n\nReferences\n\nExternal links\n William Warntz at Hmolpedia\n Donald G. Janelle, William Warntz and the Legacy of Spatial Thinking at Harvard University, 2012.\n\n1922 births\n1988 deaths\nAmerican geographers\nHarvard University people\n20th-century geographers\nUniversity of Pennsylvania alumni", "Milton Green (October 31, 1913 – March 30, 2005) was a world record holder in high hurdles during the 1930s.\n\nHe was born in Lowell, Massachusetts in 1913 and attended Harvard University.\n\nHe first equaled the world mark of 5.8 seconds in 45-yard high hurdles in 1935 at a track meet with Yale University and Princeton University.\n\nHe tied the world record for 60-Meter high hurdles of 7.5 seconds at an Olympic trial heat at Madison Square Garden in early 1936. Green was considered sure to make the team in 1936, but chose not to participate. He protested the event being held in Berlin, center of Nazi Germany.\n\nAlthough Green remained a world class hurdler for many years, he was convinced by his rabbi to boycott the Olympic Games based on what was happening in Nazi Germany. The boycott by Milton Green and Harvard teammate Norman Cahners was not publicized at the time.\n\nGreen had this to say on an interview transcribed by the US Holocaust Museum.\n\"Both Cahners and I decided that we would boycott the Olympics. We just felt it was the right thing to do. I spoke to the track coach at Harvard. We told him about our intention. He tried to persuade us not to do it. He said he didn't think it would do much good, and we should try to go to the final tryouts and try to make the team. But we didn't want to do that. After we boycotted the Olympics, no one came to speak to us or ask us if we'd make any statements about it. And I don't think anyone knew particularly that we did boycott it. I think back on making that decision and whether I would have won silver or gold or some sort of a medal, and every time I go to the Olympics—I've been to three of them—I particularly watch the high hurdles and the long jump, and I picture myself as maybe having won a medal in it.\"\n\nAfter service in the United States Army in World War II, Milton became a shopping center developer until he retired in 1971.\n\nHe was inducted into The Harvard Athletic Hall of Fame in 1961.\n\nHe was elected into The International Jewish Sports Hall of Fame in 1997.\n\nSee also\nList of select Jewish track and field athletes\n\nReferences\n\nExternal links\nBio on JewishSports.net\n\n\"Video clip of Milton Green racing in 1935\" - British Pathe archive footage: Milton Green races for Harvard and wins, 1935.\n\nJewish American sportspeople\nJewish male athletes (track and field)\nHarvard Crimson men's track and field athletes\n1913 births\n2005 deaths\nAmerican male hurdlers\nSportspeople from Lowell, Massachusetts\nUnited States Army soldiers\nUnited States Army personnel of World War II\n20th-century American Jews\n21st-century American Jews" ]
[ "Richard Stallman", "Harvard University and MIT", "What did he do at Harvard?", "As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55." ]	C_48eeef8db60c4df68ba565e3cc185e20_1	What did he do at MIT?	2	What did Richard Stallman do at MIT?	Richard Stallman	As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS (which was the name of his computer accounts). Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead he decided to enroll as a graduate student at MIT. He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. As of 2009, the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO, Emacs for ITS, and the Lisp machine operating system (the CONS of 1974-1976 and the CADR of 1977-1979--this latter unit was commercialized by Symbolics and LMI starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency. When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20% of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. CANNOTANSWER	In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community,	Richard Matthew Stallman (; born March 16, 1953), also known by his initials, rms, is an American free software movement activist and programmer. He campaigns for software to be distributed in such a manner, so that its users receive the freedoms to use, study, distribute, and modify that software. Software that ensures these freedoms is termed free software. Stallman launched the GNU Project, founded the Free Software Foundation, developed the GNU Compiler Collection and GNU Emacs, and wrote the GNU General Public License. Stallman launched the GNU Project in September 1983 to write a Unix-like computer operating system composed entirely of free software. With this, he also launched the free software movement. He has been the GNU project's lead architect and organizer, and developed a number of pieces of widely used GNU software including, among others, the GNU Compiler Collection, GNU Debugger, and GNU Emacs text editor. In October 1985 he founded the Free Software Foundation (FSF). Stallman pioneered the concept of copyleft, which uses the principles of copyright law to preserve the right to use, modify, and distribute free software. He is the main author of free software licenses which describe those terms, most notably the GNU General Public License (GPL), the most widely used free software license. In 1989, he co-founded the League for Programming Freedom. Since the mid-1990s, Stallman has spent most of his time advocating for free software, as well as campaigning against software patents, digital rights management (which he refers to as digital restrictions management, calling the more common term misleading), and other legal and technical systems which he sees as taking away users' freedoms. This has included software license agreements, non-disclosure agreements, activation keys, dongles, copy restriction, proprietary formats, and binary executables without source code. In September 2019, Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT after making controversial comments about the Jeffrey Epstein sex trafficking scandal. Stallman remained head of the GNU Project, and in 2021 returned to the FSF board of directors. Early life Stallman was born March 16, 1953, in New York City, to a family of Jewish heritage. He had a troublesome relationship with his parents and did not feel he had a proper home. He was interested in computers at a young age; when Stallman was a pre-teen at a summer camp, he read manuals for the IBM 7094. From 1967 to 1969, Stallman attended a Columbia University Saturday program for high school students. Stallman was also a volunteer laboratory assistant in the biology department at Rockefeller University. Although he was interested in mathematics and physics, his supervising professor at Rockefeller thought he showed promise as a biologist. His first experience with actual computers was at the IBM New York Scientific Center when he was in high school. He was hired for the summer in 1970, following his senior year of high school, to write a numerical analysis program in Fortran. He completed the task after a couple of weeks ("I swore that I would never use FORTRAN again because I despised it as a language compared with other languages") and spent the rest of the summer writing a text editor in APL and a preprocessor for the PL/I programming language on the IBM System/360. Harvard University and MIT As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS, which he used in his computer accounts. Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead decided to enroll as a graduate student at the Massachusetts Institute of Technology (MIT). He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. , the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO and Emacs for the Incompatible Timesharing System (ITS), as well as the Lisp machine operating system (the CONS of 1974–1976 and the CADR of 1977–1979—this latter unit was commercialized by Symbolics and Lisp Machines, Inc. (LMI) starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency (DARPA). When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20 percent of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. Events leading to GNU In the late 1970s and early 1980s, the hacker culture that Stallman thrived on began to fragment. To prevent software from being used on their competitors' computers, most manufacturers stopped distributing source code and began using copyright and restrictive software licenses to limit or prohibit copying and redistribution. Such proprietary software had existed before, and it became apparent that it would become the norm. This shift in the legal characteristics of software was a consequence triggered by the US Copyright Act of 1976. When Brian Reid in 1979 placed time bombs in the Scribe markup language and word processing system to restrict unlicensed access to the software, Stallman proclaimed it "a crime against humanity". During an interview in 2008, he clarified that it is blocking the user's freedom that he believes is a crime, not the issue of charging for software. Stallman's texinfo is a GPL replacement, loosely based on Scribe; the original version was finished in 1986. In 1980, Stallman and some other hackers at the AI Lab were refused access to the source code for the software of a newly installed laser printer, the Xerox 9700. Stallman had modified the software for the Lab's previous laser printer (the XGP, Xerographic Printer), so it electronically messaged a user when the person's job was printed, and would message all logged-in users waiting for print jobs if the printer was jammed. Not being able to add these features to the new printer was a major inconvenience, as the printer was on a different floor from most of the users. This experience convinced Stallman of people's need to be able to freely modify the software they use. Richard Greenblatt, a fellow AI Lab hacker, founded Lisp Machines, Inc. (LMI) to market Lisp machines, which he and Tom Knight designed at the lab. Greenblatt rejected outside investment, believing that the proceeds from the construction and sale of a few machines could be profitably reinvested in the growth of the company. In contrast, the other hackers felt that the venture capital-funded approach was better. As no agreement could be reached, hackers from the latter camp founded Symbolics, with the aid of Russ Noftsker, an AI Lab administrator. Symbolics recruited most of the remaining hackers including notable hacker Bill Gosper, who then left the AI Lab. Symbolics also forced Greenblatt to resign by citing MIT policies. While both companies delivered proprietary software, Stallman believed that LMI, unlike Symbolics, had tried to avoid hurting the lab's community. For two years, from 1982 to the end of 1983, Stallman worked by himself to clone the output of the Symbolics programmers, with the aim of preventing them from gaining a monopoly on the lab's computers. Stallman argues that software users should have the freedom to share with their neighbors and be able to study and make changes to the software that they use. He maintains that attempts by proprietary software vendors to prohibit these acts are antisocial and unethical. The phrase "software wants to be free" is often incorrectly attributed to him, and Stallman argues that this is a misstatement of his philosophy. He argues that freedom is vital for the sake of users and society as a moral value, and not merely for pragmatic reasons such as possibly developing technically superior software. Eric S. Raymond, one of the creators of the open-source movement, argues that moral arguments, rather than pragmatic ones, alienate potential allies and hurt the end goal of removing code secrecy. In February 1984, Stallman quit his job at MIT to work full-time on the GNU project, which he had announced in September 1983. Since then, he had remained affiliated with MIT as an unpaid "visiting scientist" in the Computer Science and Artificial Intelligence Laboratory. Until "around 1998", he maintained an office at the Institute that doubled as his legal residence. GNU project Stallman announced the plan for the GNU operating system in September 1983 on several ARPANET mailing lists and USENET. He started the project on his own and describes: "As an operating system developer, I had the right skills for this job. So even though I could not take success for granted, I realized that I was elected to do the job. I chose to make the system compatible with Unix so that it would be portable, and so that Unix users could easily switch to it." In 1985, Stallman published the GNU Manifesto, which outlined his motivation for creating a free operating system called GNU, which would be compatible with Unix. The name GNU is a recursive acronym for "GNU's Not Unix". Soon after, he started a nonprofit corporation called the Free Software Foundation to employ free software programmers and provide a legal infrastructure for the free software movement. Stallman was the nonsalaried president of the FSF, which is a 501(c)(3) nonprofit organization founded in Massachusetts. Stallman popularized the concept of copyleft, a legal mechanism to protect the modification and redistribution rights for free software. It was first implemented in the GNU Emacs General Public License, and in 1989 the first program-independent GNU General Public License (GPL) was released. By then, much of the GNU system had been completed. Stallman was responsible for contributing many necessary tools, including a text editor (Emacs), compiler (GCC), debugger (GNU Debugger), and a build automator (GNU make). The notable omission was a kernel. In 1990, members of the GNU project began using Carnegie Mellon's Mach microkernel in a project called GNU Hurd, which has yet to achieve the maturity level required for full POSIX compliance. In 1991, Linus Torvalds, a Finnish student, used the GNU's development tools to produce the free monolithic Linux kernel. The existing programs from the GNU project were readily ported to run on the resultant platform. Most sources use the name Linux to refer to the general-purpose operating system thus formed, while Stallman and the FSF call it GNU/Linux. This has been a longstanding naming controversy in the free software community. Stallman argues that not using GNU in the name of the operating system unfairly disparages the value of the GNU project and harms the sustainability of the free software movement by breaking the link between the software and the free software philosophy of the GNU project. Stallman's influences on hacker culture include the name POSIX and the Emacs editor. On Unix systems, GNU Emacs's popularity rivaled that of another editor vi, spawning an editor war. Stallman's take on this was to canonize himself as St. IGNUcius of the Church of Emacs and acknowledge that "vi vi vi is the editor of the beast", while "using a free version of vi is not a sin; it is a penance". On his homepage Stallman explains what a life in the Church of Emacs means to its members: "Sainthood in the Church of Emacs requires living a life of purity—but in the Church of Emacs, this does not require celibacy (a sigh of relief is heard)". In 1992, developers at Lucid Inc. doing their own work on Emacs clashed with Stallman and ultimately forked the software into what would become XEmacs. The technology journalist Andrew Leonard has characterized what he sees as Stallman's uncompromising stubbornness as common among elite computer programmers: In 2018, Stallman instituted "Kind Communication Guidelines" for the GNU project to help its mailing list discussions remain constructive while avoiding explicitly promoting diversity. In October 2019, a public statement signed by 33 maintainers of the GNU project asserted that Stallman's behaviour had "undermined a core value of the GNU project: the empowerment of all computer users" and called for "GNU maintainers to collectively decide about the organization of the project". The statement was published soon after Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT in September 2019. In spite of that, Stallman remained head of the GNU project. Activism Stallman has written many essays on software freedom, and has been an outspoken political campaigner for the free software movement since the early 1990s. The speeches he has regularly given are titled The GNU Project and the Free Software Movement, The Dangers of Software Patents, and Copyright and Community in the Age of Computer Networks. In 2006 and 2007, during the eighteen month public consultation for the drafting of version 3 of the GNU General Public License, he added a fourth topic explaining the proposed changes. Stallman's staunch advocacy for free software inspired the creation of the Virtual Richard M. Stallman (vrms), software that analyzes the packages currently installed on a Debian GNU/Linux system, and reports those that are from the non-free tree. Stallman disagrees with parts of Debian's definition of free software. In 1999, Stallman called for development of a free online encyclopedia through the means of inviting the public to contribute articles. The resulting GNUPedia was eventually retired in favour of the emerging Wikipedia, which had similar aims and was enjoying greater success. Stallman is a world traveler and has visited at least 65 countries, mostly to speak about free software and the GNU project. According to Stallman, the free software movement has much in common with that of Mahatma Gandhi. Stallman is also highly critical of the effect that drug patents have had on developing countries. In Venezuela, Stallman has delivered public speeches and promoted the adoption of free software in the state's oil company (PDVSA), in municipal government, and in the nation's military. In meetings with Hugo Chávez and in public speeches, Stallman criticised some policies on television broadcasting, free speech rights, and privacy. Stallman was on the Advisory Council of Latin American television station teleSUR from its launch but resigned in February 2011, criticizing pro-Gaddafi propaganda during the Arab Spring. In August 2006, at his meetings with the government of the Indian State of Kerala, he persuaded officials to discard proprietary software, such as Microsoft's, at state-run schools. This has resulted in a landmark decision to switch all school computers in 12,500 high schools from Windows to a free software operating system. After personal meetings, Stallman obtained positive statements about the free software movement from the then-president of India, , French 2007 presidential candidate Ségolène Royal, and the president of Ecuador Rafael Correa. Stallman has participated in protests about software patents, digital rights management, and proprietary software. Protesting against proprietary software in April 2006, Stallman held a "Don't buy from ATI, enemy of your freedom" placard at a speech by an ATI representative in the building where Stallman worked, resulting in the police being called. AMD has since acquired ATI and has taken steps to make their hardware documentation available for use by the free software community. In response to Apple's Macintosh look and feel lawsuits against Microsoft and Hewlett-Packard in 1988, Stallman called for a boycott of Apple products on the grounds that a successful look and feel lawsuit would "put an end to free software that could substitute for commercial software". The boycott was lifted in 1995, which meant the FSF started to accept patches to GNU software for Apple operating systems. Stallman has characterized Steve Jobs as having a "malign influence" on computing because of Jobs' leadership in guiding Apple to produce closed platforms. In 1993, while Jobs was at NeXT, Jobs asked Stallman if he could distribute a modified GCC in two parts, one part under GPL and the other part, an Objective-C preprocessor under a proprietary license. Stallman initially thought this would be legal, but since he also thought it would be "very undesirable for free software", he asked a lawyer for advice. The response he got was that judges would consider such schemes to be "subterfuges" and would be very harsh toward them, and a judge would ask whether it was "really" one program, rather than how the parts were labeled. Therefore, Stallman sent a message back to Jobs which said they believed Jobs' plan was not allowed by the GPL, which resulted in NeXT releasing the Objective-C front end under GPL. For a period of time, Stallman used a notebook from the One Laptop per Child program. Stallman's computer is a refurbished ThinkPad T400s with Libreboot, a free BIOS replacement, and the GNU/Linux distribution Trisquel. Before the ThinkPad T400s, Stallman used a Thinkpad X60 with Libreboot and Trisquel GNU/Linux. And before the X60, Stallman used the Lemote Yeeloong netbook (using the same company's Loongson processor) which he chose because, like the X60 and the T400s, it could run with free software at the BIOS level, stating "freedom is my priority. I've campaigned for freedom since 1983, and I am not going to surrender that freedom for the sake of a more convenient computer." Stallman's Lemote was stolen from him in 2012 while in Argentina. Before Trisquel, Stallman has used the gNewSense operating system. Copyright reduction Stallman has regularly given a talk entitled "Copyright vs. Community" where he reviews the state of digital rights management (DRM) and names many of the products and corporations which he boycotts. His approach to DRM is best summed up by the FSF Defective by Design campaign. In the talks, he makes proposals for a "reduced copyright" and suggests a 10-year limit on copyright. He suggests that, instead of restrictions on sharing, authors be supported using a tax, with revenues distributed among them based on cubic roots of their popularity to ensure that "fairly successful non-stars" receive a greater share than they do now (compare with private copying levy which is associated with proponents of strong copyright), or a convenient anonymous micropayment system for people to support authors directly. He indicates that no form of non-commercial sharing of copies should be considered a copyright violation. He has advocated civil disobedience in a comment on Ley Sinde. Stallman has also helped and supported the International Music Score Library Project in getting back online, after it had been taken down on October 19, 2007, following a cease and desist letter from Universal Edition. Stallman mentions the dangers some e-books bring compared to paper books, with the example of the Amazon Kindle e-reader that prevents the copying of e-books and allows Amazon to order automatic deletion of a book. He says that such e-books present a big step backward with respect to paper books by being less easy to use, copy, lend to others or sell, also mentioning that Amazon e-books cannot be bought anonymously. His short story "The Right to Read" provides a picture of a dystopian future if the right to share books is impeded. He objects to many of the terms within typical end-user license agreements that accompany e-books. Stallman discourages the use of several storage technologies such as DVD or Blu-ray video discs because the content of such media is encrypted. He considers manufacturers' use of encryption on non-secret data (to force the user to view certain promotional material) as a conspiracy. He recognized the Sony BMG copy protection rootkit scandal to be a criminal act by Sony. Stallman supports a general boycott of Sony for its legal actions against George Hotz. Stallman has suggested that the United States government may encourage the use of software as a service because this would allow them to access users' data without needing a search warrant. He denies being an anarchist despite his wariness of some legislation and the fact that he has "advocated strongly for user privacy and his own view of software freedom". Terminologies Stallman places great importance on the words and labels people use to talk about the world, including the relationship between software and freedom. He asks people to say free software and GNU/Linux, and to avoid the terms intellectual property and piracy (in relation to copying not approved by the publisher). One of his criteria for giving an interview to a journalist is that the journalist agrees to use his terminology throughout the article. He has been known to turn down speaking requests over some terminology issues. Stallman argues that the term intellectual property is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark, and other areas of law by lumping together things that are more dissimilar than similar. He also argues that by referring to these laws as property laws, the term biases the discussion when thinking about how to treat these issues, writing: An example of cautioning others to avoid other terminology while also offering suggestions for possible alternatives is this sentence of an e-mail by Stallman to a public mailing list: Open source and Free software His requests that people use certain terms, and his ongoing efforts to convince people of the importance of terminology, are a source of regular misunderstanding and friction with parts of the free software and open-source communities. After initially accepting the concept, Stallman rejects a common alternative term, open-source software, because it does not call to mind what Stallman sees as the value of the software: freedom. He wrote, "Free software is a political movement; open source is a development model." Thus, he believes that the use of the term will not inform people of the freedom issues, and will not lead to people valuing and defending their freedom. Two alternatives which Stallman does accept are software libre and unfettered software, but free software is the term he asks people to use in English. For similar reasons, he argues for the term proprietary software or non-free software rather than closed-source software, when referring to software that is not free software. Linux and GNU Stallman asks that the term GNU/Linux, which he pronounces , be used to refer to the operating system created by combining the GNU system and the kernel Linux. Stallman refers to this operating system as "a variant of GNU, and the GNU Project is its principal developer". He claims that the connection between the GNU project's philosophy and its software is broken when people refer to the combination as merely Linux. Starting around 2003, he began also using the term GNU+Linux, which he pronounces , to prevent others from pronouncing the phrase GNU/Linux as , which would erroneously imply that the kernel Linux is maintained by the GNU project. The creator of Linux, Linus Torvalds, has publicly stated that he objects to modification of the name, and that the rename "is their [the FSF] confusion not ours". Surveillance resistance Stallman professes admiration for Julian Assange and Edward Snowden. He has spoken against government and corporate surveillance on many occasions. He refers to mobile phones as "portable surveillance and tracking devices", refusing to own a cell phone due to the lack of phones running entirely on free software. He also avoids using a key card to enter his office building since key card systems track each location and time that someone enters the building using a card. He usually does not browse the web directly from his personal computer. Instead, he uses GNU Womb's grab-url-from-mail utility, an email-based proxy which downloads the web page content and then emails it to the user. More recently, he stated that he accesses all web sites via Tor, except for Wikipedia (which generally disallows editing from Tor unless users have an IP block exemption). Personal life Stallman resides in Cambridge, Massachusetts. He speaks English, French, Spanish and some Indonesian. He has said that he is "an atheist of Jewish ancestry" and often wears a button that reads "Impeach God". Stallman has written a collection of filk music and parody songs. He is childfree and antinatalist. He denies having Asperger's, but has sometimes speculated whether he could have a "shadow" version of it. Resignation from MIT and FSF In August and September 2019, it was learned that Jeffrey Epstein had made donations to MIT, and in the wake of this, MIT Media Lab director Joi Ito resigned. An internal MIT CSAIL listserv mailing list thread was started to protest the coverup of MIT's connections to Epstein. In the thread, discussion had turned to deceased MIT professor Marvin Minsky, who was named by Virginia Giuffre as one of the people that Epstein had directed her to have sex with. Giuffre, a minor at the time, had been caught in Epstein's underage sex trafficking ring. In response to a comment where one reply stated that Minsky "is accused of assaulting one of Epstein's victims", Stallman questioned whether the word "assault" was applicable in that case, arguing that "the most plausible scenario is that she presented herself to him as entirely willing. Assuming she was being coerced by Epstein, he would have had every reason to conceal that from most of his associates". When challenged by other members of the mailing list, he added "It is morally absurd to define 'rape' in a way that depends on minor details such as which country it was in or whether the victim was 18 years old or 17". Stallman remained critical of Epstein and his role, stating "We know that Giuffre was being coerced into sex – by Epstein. She was being harmed." Stallman's comments along with a compilation of accusations against him were published to the public via Medium by Selam Gano, who outlined MIT alumnae claims of sexual harassment and contributions to a hostile environment by Stallman. Vice published a copy of the email chain on September 13, 2019, drawing attention to Stallman's comments. Stallman's writings from 2013 and earlier related to underage sex and child pornography laws resurfaced, increasing the controversy. Tied to his comments regarding Minsky, this led to several calling for Stallman's resignation. On September 14, Stallman acknowledged that since the time of his past writings, he had learned that there were problems with underage sex, writing on his blog: "Through personal conversations in recent years, I've learned to understand how sex with a child can harm per psychologically. This changed my mind about the matter: I think adults should not do that." On September 16, Stallman announced his resignation from both MIT and FSF, "due to pressure on MIT and me over a series of misunderstandings and mischaracterizations". In a post on his website, Stallman asserted that his posts to the email lists were not to defend Epstein, stating "Nothing could be further from the truth. I've called him a 'serial rapist,' and said he deserved to be imprisoned. But many people now believe I defended him—and other inaccurate claims—and feel a real hurt because of what they believe I said. I'm sorry for that hurt. I wish I could have prevented the misunderstanding." Return to FSF In March 2021, at LibrePlanet2021, Stallman announced his return to the FSF board of directors. Shortly thereafter, an open letter was published on GitHub asking for Stallman's removal, along with the entire FSF board of directors, with the support of prominent open-source organizations including GNOME and Mozilla. The letter includes a list of accusations against Stallman. In response, an open letter asking for the FSF to retain Stallman was also published, arguing that Stallman's statements were mischaracterized, misunderstood and that they need to be interpreted in context. The FSF board in April 12 made a statement re-affirming its decision to bring back Richard Stallman. Following this, Stallman issued a statement explaining his poor social skills and apologizing. Multiple organizations criticized, defunded and/or cut ties with the FSF, including: Red Hat, the Free Software Foundation Europe, the Software Freedom Conservacy, SUSE, the OSI, the Document Foundation, the EFF, KDE, and the Tor Project. Debian declined to issue a statement after a community voting on the issue. However, this had relatively little impact on the FSF, as it has stated that direct financial support from corporations accounted for less than 3% of its revenue in the most recent fiscal year. Honors and awards 1986: Honorary lifetime membership of the Chalmers University of Technology Computer Society 1990: Exceptional merit award MacArthur Fellowship ("genius grant") 1990: The Association for Computing Machinery's Grace Murray Hopper Award "For pioneering work in the development of the extensible editor EMACS (Editing Macros)" 1996: Honorary doctorate from Sweden's Royal Institute of Technology 1998: Electronic Frontier Foundation's Pioneer Award 1999: Yuri Rubinsky Memorial Award 2001: The Takeda Techno-Entrepreneurship Award for Social/Economic Well-Being () 2001: Honorary doctorate, from the University of Glasgow 2002: US National Academy of Engineering membership "for starting the GNU project, which produced influential, non-proprietary software tools, and for founding the free software movement" 2003: Honorary doctorate, from the Vrije Universiteit Brussel 2004: Honorary doctorate, from the Universidad Nacional de Salta 2004: Honorary professorship, from the Universidad Nacional de Ingeniería del Perú 2007: Honorary professorship, from the Universidad Inca Garcilaso de la Vega 2007: First Premio Internacional Extremadura al Conocimiento Libre 2007: Honorary doctorate, from the Universidad de Los Angeles de Chimbote 2007: Honorary doctorate, from the University of Pavia 2008: Honorary doctorate from the Universidad Nacional de Trujillo, in Peru 2009: Honorary doctorate, from Lakehead University 2011: Honorary doctorate, from National University of Córdoba 2012: Honorary professorship, from the Universidad César Vallejo de Trujillo, in Peru 2012: Honorary doctorate, from the Universidad Latinoamericana Cima de Tacna, in Peru 2012: Honorary doctorate, from the Universidad José Faustino Sánchez Carrión, in Peru 2014: Honorary doctorate, from Concordia University, in Montréal 2015: ACM Software System Award "For the development and leadership of GCC" 2016: Honorary doctorate, from Pierre and Marie Curie University 2016: Social Medicine award, from GNU Solidario Selected publications Manuals Selected essays See also 9882 Stallman Free as in Freedom, a biography by Sam Williams Free Software Street History of free and open-source software Lisp Machine Lisp Revolution OS vrms Free Software Foundation References External links In Support of Richard Stallman, a website which advocates for Stallman. Essays on the Philosophy of the GNU Project, almost all written by Stallman 1953 births Activists from New York City Jewish American atheists American bloggers American computer programmers Anti-natalists Articles containing video clips Artificial intelligence researchers Copyright activists Education activists Emacs Filkers Free software people Free software programmers GNU people Grace Murray Hopper Award laureates Harvard School of Engineering and Applied Sciences alumni Internet activists Jewish American scientists Linux people Lisp (programming language) people Living people MacArthur Fellows Massachusetts Institute of Technology School of Science alumni Members of the Free Software Foundation board of directors Members of the United States National Academy of Engineering Privacy activists Programming language designers	true	[ "Michael Leonidas Dertouzos (; November 5, 1936 – August 27, 2001) was a professor in the department of Electrical Engineering and Computer Science at the Massachusetts Institute of Technology (MIT) and Director of the MIT Laboratory for Computer Science (LCS) from 1974 to 2001.\n\nDertouzos predicted the expansion of computer use very early, and was one of the pioneers in many areas of technology. These included his contributions to the Web particularly through his visionary approach to ubiquitous computing.\n\nEarly life \nDertouzos was born in Athens, Greece. His father was an admiral in the Greek navy and the young Dertouzos often accompanied him aboard destroyers and submarines. This experience cultivated his interest in technology so that he learned Morse code, shipboard machinery, and mathematics at an early age. When he was 16, he came across Claude Shannon's work on information theory and MIT's attempt to build a mechanical mouse robot; these were said to have driven him to study in the university.\n\nDertouzos went to high school at Athens College. He came to the United States to study after the end of World War II and was awarded a Fulbright scholarship to study electrical engineering. Dertouzos completed his bachelor's and master's degrees at the University of Arkansas in 1957 and 1959. He earned his Ph.D. in electrical engineering from MIT in 1964.\n\nCareer \nAfter graduating, he immediately joined the faculty of MIT, where he stayed for the rest of his career. During Dertouzos's term, LCS innovated in a variety of areas, including RSA encryption, the spreadsheet, the NuBus, the X Window System, and the Internet. Dertouzos was instrumental in creating the World Wide Web Consortium and bringing it to MIT. He was a firm supporter of the GNU Project, Richard Stallman, and the FSF, and their continued presence at MIT. He was also the sponsor of Project Oxygen at MIT, which aimed to develop \"pervasive, human-centered computing through a combination of specific user and system technologies\".\n\nIn 1968, he co-founded Computek, Inc., a manufacturer of graphics and intelligent terminals, with Marvin C. Lewis and Dr. Huber Graham.\n\nHe died on August 27 2001 at Massachusetts General Hospital at the age of 64. He is buried at the First Cemetery of Athens.\n\nHonours\nOn November 5, 2018, Google recognized him with a doodle.\n\nBibliography\nDertouzos, The Unfinished Revolution: Human-Centered Computers and What They Can Do For Us, 2001, .\nDertouzos, What Will Be: How the New World of Information Will Change Our Lives, 1997, .\n\"Communications, Computers and Networks\", in Scientific American Special Issue on Communications, Computers, and Networks, September, 1991\n(co-author), Made in America: Regaining the Productive Edge, 1989, .\n\nReferences\n\nFurther reading\nK. Warwick \"Scrubbing the future clean\", Review of 'What will be' by Michael Dertouzos, New Scientist, p. 44, 9 August 1997.\n\nExternal links\n Oral history interview with Michael L. Dertouzos. Charles Babbage Institute University of Minnesota. Dertouzos discusses his research in computer science at the Massachusetts Institute of Technology and Project MAC's change under his direction to the Laboratory for Computer Science. The bulk of the interview concerns MIT's relationship with the Defense Advanced Research Projects Agency (DARPA) and its Information Processing Techniques Office (IPTO). Topics include: time-sharing, distributive systems, networking, multiprocessing, the ARPANET, and Robert Kahn's directorship of IPTO.\n Biography on KurzweilAI.net\n\nComputer systems researchers\nGreek computer scientists\nAmerican computer scientists\nGreek technology writers\nAmerican technology writers\nUniversity of Arkansas alumni\nMIT School of Engineering alumni\nMIT School of Engineering faculty\nGreek emigrants to the United States\n1936 births\n2001 deaths\nEngineers from Athens", "Murray Banks (1917-2008) was one of the most sought after speakers in America in the 1950/60s. Banks was a clinical psychologist, and was formerly a full professor of psychology at Long Island University, and at Pace College, NYC, where he headed the psychology department for over five years. He was also a visiting professor and special lecturer on various subjects at the University at North Carolina, New York University, Temple University, New Jersey State Teachers College, University of Pittsburgh, and Brooklyn College.\n\nWorks\n\nComedy albums\n What YOU can learn from the Kinsey Report (Audio Masterworks, 1956)\n The Drama of Sex (1960)\n Just in case you think you're normal (1961)\n Dr. Murray Banks tells Jewish Stories Mit Psychology (1961)\n Dr. Murray Banks Tells more Jewish Stories Mit Psychology (1964)\n A Lesson in Love (1964)\n How to live with yourself...or what to do until psychiatrist comes (1965)\n How to quit smoking in six days or drop dead in seven (1965)\n Anyone who goes to a shrink should have their head examined (1971)\n\nBooks\n\nReferences\n\n1917 births\n2008 deaths\n20th-century American Jews\nAmerican male comedians\n20th-century American comedians\nJewish male comedians\nBrooklyn College faculty\n21st-century American Jews" ]
[ "Richard Stallman", "Harvard University and MIT", "What did he do at Harvard?", "As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55.", "What did he do at MIT?", "In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community," ]	C_48eeef8db60c4df68ba565e3cc185e20_1	What else did you find interesting in this section?	3	What else did you find interesting in the section other than what Richard Stallman did at Harvard and MIT?	Richard Stallman	As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS (which was the name of his computer accounts). Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead he decided to enroll as a graduate student at MIT. He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. As of 2009, the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO, Emacs for ITS, and the Lisp machine operating system (the CONS of 1974-1976 and the CADR of 1977-1979--this latter unit was commercialized by Symbolics and LMI starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency. When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20% of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. CANNOTANSWER	Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974.	Richard Matthew Stallman (; born March 16, 1953), also known by his initials, rms, is an American free software movement activist and programmer. He campaigns for software to be distributed in such a manner, so that its users receive the freedoms to use, study, distribute, and modify that software. Software that ensures these freedoms is termed free software. Stallman launched the GNU Project, founded the Free Software Foundation, developed the GNU Compiler Collection and GNU Emacs, and wrote the GNU General Public License. Stallman launched the GNU Project in September 1983 to write a Unix-like computer operating system composed entirely of free software. With this, he also launched the free software movement. He has been the GNU project's lead architect and organizer, and developed a number of pieces of widely used GNU software including, among others, the GNU Compiler Collection, GNU Debugger, and GNU Emacs text editor. In October 1985 he founded the Free Software Foundation (FSF). Stallman pioneered the concept of copyleft, which uses the principles of copyright law to preserve the right to use, modify, and distribute free software. He is the main author of free software licenses which describe those terms, most notably the GNU General Public License (GPL), the most widely used free software license. In 1989, he co-founded the League for Programming Freedom. Since the mid-1990s, Stallman has spent most of his time advocating for free software, as well as campaigning against software patents, digital rights management (which he refers to as digital restrictions management, calling the more common term misleading), and other legal and technical systems which he sees as taking away users' freedoms. This has included software license agreements, non-disclosure agreements, activation keys, dongles, copy restriction, proprietary formats, and binary executables without source code. In September 2019, Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT after making controversial comments about the Jeffrey Epstein sex trafficking scandal. Stallman remained head of the GNU Project, and in 2021 returned to the FSF board of directors. Early life Stallman was born March 16, 1953, in New York City, to a family of Jewish heritage. He had a troublesome relationship with his parents and did not feel he had a proper home. He was interested in computers at a young age; when Stallman was a pre-teen at a summer camp, he read manuals for the IBM 7094. From 1967 to 1969, Stallman attended a Columbia University Saturday program for high school students. Stallman was also a volunteer laboratory assistant in the biology department at Rockefeller University. Although he was interested in mathematics and physics, his supervising professor at Rockefeller thought he showed promise as a biologist. His first experience with actual computers was at the IBM New York Scientific Center when he was in high school. He was hired for the summer in 1970, following his senior year of high school, to write a numerical analysis program in Fortran. He completed the task after a couple of weeks ("I swore that I would never use FORTRAN again because I despised it as a language compared with other languages") and spent the rest of the summer writing a text editor in APL and a preprocessor for the PL/I programming language on the IBM System/360. Harvard University and MIT As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS, which he used in his computer accounts. Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead decided to enroll as a graduate student at the Massachusetts Institute of Technology (MIT). He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. , the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO and Emacs for the Incompatible Timesharing System (ITS), as well as the Lisp machine operating system (the CONS of 1974–1976 and the CADR of 1977–1979—this latter unit was commercialized by Symbolics and Lisp Machines, Inc. (LMI) starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency (DARPA). When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20 percent of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. Events leading to GNU In the late 1970s and early 1980s, the hacker culture that Stallman thrived on began to fragment. To prevent software from being used on their competitors' computers, most manufacturers stopped distributing source code and began using copyright and restrictive software licenses to limit or prohibit copying and redistribution. Such proprietary software had existed before, and it became apparent that it would become the norm. This shift in the legal characteristics of software was a consequence triggered by the US Copyright Act of 1976. When Brian Reid in 1979 placed time bombs in the Scribe markup language and word processing system to restrict unlicensed access to the software, Stallman proclaimed it "a crime against humanity". During an interview in 2008, he clarified that it is blocking the user's freedom that he believes is a crime, not the issue of charging for software. Stallman's texinfo is a GPL replacement, loosely based on Scribe; the original version was finished in 1986. In 1980, Stallman and some other hackers at the AI Lab were refused access to the source code for the software of a newly installed laser printer, the Xerox 9700. Stallman had modified the software for the Lab's previous laser printer (the XGP, Xerographic Printer), so it electronically messaged a user when the person's job was printed, and would message all logged-in users waiting for print jobs if the printer was jammed. Not being able to add these features to the new printer was a major inconvenience, as the printer was on a different floor from most of the users. This experience convinced Stallman of people's need to be able to freely modify the software they use. Richard Greenblatt, a fellow AI Lab hacker, founded Lisp Machines, Inc. (LMI) to market Lisp machines, which he and Tom Knight designed at the lab. Greenblatt rejected outside investment, believing that the proceeds from the construction and sale of a few machines could be profitably reinvested in the growth of the company. In contrast, the other hackers felt that the venture capital-funded approach was better. As no agreement could be reached, hackers from the latter camp founded Symbolics, with the aid of Russ Noftsker, an AI Lab administrator. Symbolics recruited most of the remaining hackers including notable hacker Bill Gosper, who then left the AI Lab. Symbolics also forced Greenblatt to resign by citing MIT policies. While both companies delivered proprietary software, Stallman believed that LMI, unlike Symbolics, had tried to avoid hurting the lab's community. For two years, from 1982 to the end of 1983, Stallman worked by himself to clone the output of the Symbolics programmers, with the aim of preventing them from gaining a monopoly on the lab's computers. Stallman argues that software users should have the freedom to share with their neighbors and be able to study and make changes to the software that they use. He maintains that attempts by proprietary software vendors to prohibit these acts are antisocial and unethical. The phrase "software wants to be free" is often incorrectly attributed to him, and Stallman argues that this is a misstatement of his philosophy. He argues that freedom is vital for the sake of users and society as a moral value, and not merely for pragmatic reasons such as possibly developing technically superior software. Eric S. Raymond, one of the creators of the open-source movement, argues that moral arguments, rather than pragmatic ones, alienate potential allies and hurt the end goal of removing code secrecy. In February 1984, Stallman quit his job at MIT to work full-time on the GNU project, which he had announced in September 1983. Since then, he had remained affiliated with MIT as an unpaid "visiting scientist" in the Computer Science and Artificial Intelligence Laboratory. Until "around 1998", he maintained an office at the Institute that doubled as his legal residence. GNU project Stallman announced the plan for the GNU operating system in September 1983 on several ARPANET mailing lists and USENET. He started the project on his own and describes: "As an operating system developer, I had the right skills for this job. So even though I could not take success for granted, I realized that I was elected to do the job. I chose to make the system compatible with Unix so that it would be portable, and so that Unix users could easily switch to it." In 1985, Stallman published the GNU Manifesto, which outlined his motivation for creating a free operating system called GNU, which would be compatible with Unix. The name GNU is a recursive acronym for "GNU's Not Unix". Soon after, he started a nonprofit corporation called the Free Software Foundation to employ free software programmers and provide a legal infrastructure for the free software movement. Stallman was the nonsalaried president of the FSF, which is a 501(c)(3) nonprofit organization founded in Massachusetts. Stallman popularized the concept of copyleft, a legal mechanism to protect the modification and redistribution rights for free software. It was first implemented in the GNU Emacs General Public License, and in 1989 the first program-independent GNU General Public License (GPL) was released. By then, much of the GNU system had been completed. Stallman was responsible for contributing many necessary tools, including a text editor (Emacs), compiler (GCC), debugger (GNU Debugger), and a build automator (GNU make). The notable omission was a kernel. In 1990, members of the GNU project began using Carnegie Mellon's Mach microkernel in a project called GNU Hurd, which has yet to achieve the maturity level required for full POSIX compliance. In 1991, Linus Torvalds, a Finnish student, used the GNU's development tools to produce the free monolithic Linux kernel. The existing programs from the GNU project were readily ported to run on the resultant platform. Most sources use the name Linux to refer to the general-purpose operating system thus formed, while Stallman and the FSF call it GNU/Linux. This has been a longstanding naming controversy in the free software community. Stallman argues that not using GNU in the name of the operating system unfairly disparages the value of the GNU project and harms the sustainability of the free software movement by breaking the link between the software and the free software philosophy of the GNU project. Stallman's influences on hacker culture include the name POSIX and the Emacs editor. On Unix systems, GNU Emacs's popularity rivaled that of another editor vi, spawning an editor war. Stallman's take on this was to canonize himself as St. IGNUcius of the Church of Emacs and acknowledge that "vi vi vi is the editor of the beast", while "using a free version of vi is not a sin; it is a penance". On his homepage Stallman explains what a life in the Church of Emacs means to its members: "Sainthood in the Church of Emacs requires living a life of purity—but in the Church of Emacs, this does not require celibacy (a sigh of relief is heard)". In 1992, developers at Lucid Inc. doing their own work on Emacs clashed with Stallman and ultimately forked the software into what would become XEmacs. The technology journalist Andrew Leonard has characterized what he sees as Stallman's uncompromising stubbornness as common among elite computer programmers: In 2018, Stallman instituted "Kind Communication Guidelines" for the GNU project to help its mailing list discussions remain constructive while avoiding explicitly promoting diversity. In October 2019, a public statement signed by 33 maintainers of the GNU project asserted that Stallman's behaviour had "undermined a core value of the GNU project: the empowerment of all computer users" and called for "GNU maintainers to collectively decide about the organization of the project". The statement was published soon after Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT in September 2019. In spite of that, Stallman remained head of the GNU project. Activism Stallman has written many essays on software freedom, and has been an outspoken political campaigner for the free software movement since the early 1990s. The speeches he has regularly given are titled The GNU Project and the Free Software Movement, The Dangers of Software Patents, and Copyright and Community in the Age of Computer Networks. In 2006 and 2007, during the eighteen month public consultation for the drafting of version 3 of the GNU General Public License, he added a fourth topic explaining the proposed changes. Stallman's staunch advocacy for free software inspired the creation of the Virtual Richard M. Stallman (vrms), software that analyzes the packages currently installed on a Debian GNU/Linux system, and reports those that are from the non-free tree. Stallman disagrees with parts of Debian's definition of free software. In 1999, Stallman called for development of a free online encyclopedia through the means of inviting the public to contribute articles. The resulting GNUPedia was eventually retired in favour of the emerging Wikipedia, which had similar aims and was enjoying greater success. Stallman is a world traveler and has visited at least 65 countries, mostly to speak about free software and the GNU project. According to Stallman, the free software movement has much in common with that of Mahatma Gandhi. Stallman is also highly critical of the effect that drug patents have had on developing countries. In Venezuela, Stallman has delivered public speeches and promoted the adoption of free software in the state's oil company (PDVSA), in municipal government, and in the nation's military. In meetings with Hugo Chávez and in public speeches, Stallman criticised some policies on television broadcasting, free speech rights, and privacy. Stallman was on the Advisory Council of Latin American television station teleSUR from its launch but resigned in February 2011, criticizing pro-Gaddafi propaganda during the Arab Spring. In August 2006, at his meetings with the government of the Indian State of Kerala, he persuaded officials to discard proprietary software, such as Microsoft's, at state-run schools. This has resulted in a landmark decision to switch all school computers in 12,500 high schools from Windows to a free software operating system. After personal meetings, Stallman obtained positive statements about the free software movement from the then-president of India, , French 2007 presidential candidate Ségolène Royal, and the president of Ecuador Rafael Correa. Stallman has participated in protests about software patents, digital rights management, and proprietary software. Protesting against proprietary software in April 2006, Stallman held a "Don't buy from ATI, enemy of your freedom" placard at a speech by an ATI representative in the building where Stallman worked, resulting in the police being called. AMD has since acquired ATI and has taken steps to make their hardware documentation available for use by the free software community. In response to Apple's Macintosh look and feel lawsuits against Microsoft and Hewlett-Packard in 1988, Stallman called for a boycott of Apple products on the grounds that a successful look and feel lawsuit would "put an end to free software that could substitute for commercial software". The boycott was lifted in 1995, which meant the FSF started to accept patches to GNU software for Apple operating systems. Stallman has characterized Steve Jobs as having a "malign influence" on computing because of Jobs' leadership in guiding Apple to produce closed platforms. In 1993, while Jobs was at NeXT, Jobs asked Stallman if he could distribute a modified GCC in two parts, one part under GPL and the other part, an Objective-C preprocessor under a proprietary license. Stallman initially thought this would be legal, but since he also thought it would be "very undesirable for free software", he asked a lawyer for advice. The response he got was that judges would consider such schemes to be "subterfuges" and would be very harsh toward them, and a judge would ask whether it was "really" one program, rather than how the parts were labeled. Therefore, Stallman sent a message back to Jobs which said they believed Jobs' plan was not allowed by the GPL, which resulted in NeXT releasing the Objective-C front end under GPL. For a period of time, Stallman used a notebook from the One Laptop per Child program. Stallman's computer is a refurbished ThinkPad T400s with Libreboot, a free BIOS replacement, and the GNU/Linux distribution Trisquel. Before the ThinkPad T400s, Stallman used a Thinkpad X60 with Libreboot and Trisquel GNU/Linux. And before the X60, Stallman used the Lemote Yeeloong netbook (using the same company's Loongson processor) which he chose because, like the X60 and the T400s, it could run with free software at the BIOS level, stating "freedom is my priority. I've campaigned for freedom since 1983, and I am not going to surrender that freedom for the sake of a more convenient computer." Stallman's Lemote was stolen from him in 2012 while in Argentina. Before Trisquel, Stallman has used the gNewSense operating system. Copyright reduction Stallman has regularly given a talk entitled "Copyright vs. Community" where he reviews the state of digital rights management (DRM) and names many of the products and corporations which he boycotts. His approach to DRM is best summed up by the FSF Defective by Design campaign. In the talks, he makes proposals for a "reduced copyright" and suggests a 10-year limit on copyright. He suggests that, instead of restrictions on sharing, authors be supported using a tax, with revenues distributed among them based on cubic roots of their popularity to ensure that "fairly successful non-stars" receive a greater share than they do now (compare with private copying levy which is associated with proponents of strong copyright), or a convenient anonymous micropayment system for people to support authors directly. He indicates that no form of non-commercial sharing of copies should be considered a copyright violation. He has advocated civil disobedience in a comment on Ley Sinde. Stallman has also helped and supported the International Music Score Library Project in getting back online, after it had been taken down on October 19, 2007, following a cease and desist letter from Universal Edition. Stallman mentions the dangers some e-books bring compared to paper books, with the example of the Amazon Kindle e-reader that prevents the copying of e-books and allows Amazon to order automatic deletion of a book. He says that such e-books present a big step backward with respect to paper books by being less easy to use, copy, lend to others or sell, also mentioning that Amazon e-books cannot be bought anonymously. His short story "The Right to Read" provides a picture of a dystopian future if the right to share books is impeded. He objects to many of the terms within typical end-user license agreements that accompany e-books. Stallman discourages the use of several storage technologies such as DVD or Blu-ray video discs because the content of such media is encrypted. He considers manufacturers' use of encryption on non-secret data (to force the user to view certain promotional material) as a conspiracy. He recognized the Sony BMG copy protection rootkit scandal to be a criminal act by Sony. Stallman supports a general boycott of Sony for its legal actions against George Hotz. Stallman has suggested that the United States government may encourage the use of software as a service because this would allow them to access users' data without needing a search warrant. He denies being an anarchist despite his wariness of some legislation and the fact that he has "advocated strongly for user privacy and his own view of software freedom". Terminologies Stallman places great importance on the words and labels people use to talk about the world, including the relationship between software and freedom. He asks people to say free software and GNU/Linux, and to avoid the terms intellectual property and piracy (in relation to copying not approved by the publisher). One of his criteria for giving an interview to a journalist is that the journalist agrees to use his terminology throughout the article. He has been known to turn down speaking requests over some terminology issues. Stallman argues that the term intellectual property is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark, and other areas of law by lumping together things that are more dissimilar than similar. He also argues that by referring to these laws as property laws, the term biases the discussion when thinking about how to treat these issues, writing: An example of cautioning others to avoid other terminology while also offering suggestions for possible alternatives is this sentence of an e-mail by Stallman to a public mailing list: Open source and Free software His requests that people use certain terms, and his ongoing efforts to convince people of the importance of terminology, are a source of regular misunderstanding and friction with parts of the free software and open-source communities. After initially accepting the concept, Stallman rejects a common alternative term, open-source software, because it does not call to mind what Stallman sees as the value of the software: freedom. He wrote, "Free software is a political movement; open source is a development model." Thus, he believes that the use of the term will not inform people of the freedom issues, and will not lead to people valuing and defending their freedom. Two alternatives which Stallman does accept are software libre and unfettered software, but free software is the term he asks people to use in English. For similar reasons, he argues for the term proprietary software or non-free software rather than closed-source software, when referring to software that is not free software. Linux and GNU Stallman asks that the term GNU/Linux, which he pronounces , be used to refer to the operating system created by combining the GNU system and the kernel Linux. Stallman refers to this operating system as "a variant of GNU, and the GNU Project is its principal developer". He claims that the connection between the GNU project's philosophy and its software is broken when people refer to the combination as merely Linux. Starting around 2003, he began also using the term GNU+Linux, which he pronounces , to prevent others from pronouncing the phrase GNU/Linux as , which would erroneously imply that the kernel Linux is maintained by the GNU project. The creator of Linux, Linus Torvalds, has publicly stated that he objects to modification of the name, and that the rename "is their [the FSF] confusion not ours". Surveillance resistance Stallman professes admiration for Julian Assange and Edward Snowden. He has spoken against government and corporate surveillance on many occasions. He refers to mobile phones as "portable surveillance and tracking devices", refusing to own a cell phone due to the lack of phones running entirely on free software. He also avoids using a key card to enter his office building since key card systems track each location and time that someone enters the building using a card. He usually does not browse the web directly from his personal computer. Instead, he uses GNU Womb's grab-url-from-mail utility, an email-based proxy which downloads the web page content and then emails it to the user. More recently, he stated that he accesses all web sites via Tor, except for Wikipedia (which generally disallows editing from Tor unless users have an IP block exemption). Personal life Stallman resides in Cambridge, Massachusetts. He speaks English, French, Spanish and some Indonesian. He has said that he is "an atheist of Jewish ancestry" and often wears a button that reads "Impeach God". Stallman has written a collection of filk music and parody songs. He is childfree and antinatalist. He denies having Asperger's, but has sometimes speculated whether he could have a "shadow" version of it. Resignation from MIT and FSF In August and September 2019, it was learned that Jeffrey Epstein had made donations to MIT, and in the wake of this, MIT Media Lab director Joi Ito resigned. An internal MIT CSAIL listserv mailing list thread was started to protest the coverup of MIT's connections to Epstein. In the thread, discussion had turned to deceased MIT professor Marvin Minsky, who was named by Virginia Giuffre as one of the people that Epstein had directed her to have sex with. Giuffre, a minor at the time, had been caught in Epstein's underage sex trafficking ring. In response to a comment where one reply stated that Minsky "is accused of assaulting one of Epstein's victims", Stallman questioned whether the word "assault" was applicable in that case, arguing that "the most plausible scenario is that she presented herself to him as entirely willing. Assuming she was being coerced by Epstein, he would have had every reason to conceal that from most of his associates". When challenged by other members of the mailing list, he added "It is morally absurd to define 'rape' in a way that depends on minor details such as which country it was in or whether the victim was 18 years old or 17". Stallman remained critical of Epstein and his role, stating "We know that Giuffre was being coerced into sex – by Epstein. She was being harmed." Stallman's comments along with a compilation of accusations against him were published to the public via Medium by Selam Gano, who outlined MIT alumnae claims of sexual harassment and contributions to a hostile environment by Stallman. Vice published a copy of the email chain on September 13, 2019, drawing attention to Stallman's comments. Stallman's writings from 2013 and earlier related to underage sex and child pornography laws resurfaced, increasing the controversy. Tied to his comments regarding Minsky, this led to several calling for Stallman's resignation. On September 14, Stallman acknowledged that since the time of his past writings, he had learned that there were problems with underage sex, writing on his blog: "Through personal conversations in recent years, I've learned to understand how sex with a child can harm per psychologically. This changed my mind about the matter: I think adults should not do that." On September 16, Stallman announced his resignation from both MIT and FSF, "due to pressure on MIT and me over a series of misunderstandings and mischaracterizations". In a post on his website, Stallman asserted that his posts to the email lists were not to defend Epstein, stating "Nothing could be further from the truth. I've called him a 'serial rapist,' and said he deserved to be imprisoned. But many people now believe I defended him—and other inaccurate claims—and feel a real hurt because of what they believe I said. I'm sorry for that hurt. I wish I could have prevented the misunderstanding." Return to FSF In March 2021, at LibrePlanet2021, Stallman announced his return to the FSF board of directors. Shortly thereafter, an open letter was published on GitHub asking for Stallman's removal, along with the entire FSF board of directors, with the support of prominent open-source organizations including GNOME and Mozilla. The letter includes a list of accusations against Stallman. In response, an open letter asking for the FSF to retain Stallman was also published, arguing that Stallman's statements were mischaracterized, misunderstood and that they need to be interpreted in context. The FSF board in April 12 made a statement re-affirming its decision to bring back Richard Stallman. Following this, Stallman issued a statement explaining his poor social skills and apologizing. Multiple organizations criticized, defunded and/or cut ties with the FSF, including: Red Hat, the Free Software Foundation Europe, the Software Freedom Conservacy, SUSE, the OSI, the Document Foundation, the EFF, KDE, and the Tor Project. Debian declined to issue a statement after a community voting on the issue. However, this had relatively little impact on the FSF, as it has stated that direct financial support from corporations accounted for less than 3% of its revenue in the most recent fiscal year. Honors and awards 1986: Honorary lifetime membership of the Chalmers University of Technology Computer Society 1990: Exceptional merit award MacArthur Fellowship ("genius grant") 1990: The Association for Computing Machinery's Grace Murray Hopper Award "For pioneering work in the development of the extensible editor EMACS (Editing Macros)" 1996: Honorary doctorate from Sweden's Royal Institute of Technology 1998: Electronic Frontier Foundation's Pioneer Award 1999: Yuri Rubinsky Memorial Award 2001: The Takeda Techno-Entrepreneurship Award for Social/Economic Well-Being () 2001: Honorary doctorate, from the University of Glasgow 2002: US National Academy of Engineering membership "for starting the GNU project, which produced influential, non-proprietary software tools, and for founding the free software movement" 2003: Honorary doctorate, from the Vrije Universiteit Brussel 2004: Honorary doctorate, from the Universidad Nacional de Salta 2004: Honorary professorship, from the Universidad Nacional de Ingeniería del Perú 2007: Honorary professorship, from the Universidad Inca Garcilaso de la Vega 2007: First Premio Internacional Extremadura al Conocimiento Libre 2007: Honorary doctorate, from the Universidad de Los Angeles de Chimbote 2007: Honorary doctorate, from the University of Pavia 2008: Honorary doctorate from the Universidad Nacional de Trujillo, in Peru 2009: Honorary doctorate, from Lakehead University 2011: Honorary doctorate, from National University of Córdoba 2012: Honorary professorship, from the Universidad César Vallejo de Trujillo, in Peru 2012: Honorary doctorate, from the Universidad Latinoamericana Cima de Tacna, in Peru 2012: Honorary doctorate, from the Universidad José Faustino Sánchez Carrión, in Peru 2014: Honorary doctorate, from Concordia University, in Montréal 2015: ACM Software System Award "For the development and leadership of GCC" 2016: Honorary doctorate, from Pierre and Marie Curie University 2016: Social Medicine award, from GNU Solidario Selected publications Manuals Selected essays See also 9882 Stallman Free as in Freedom, a biography by Sam Williams Free Software Street History of free and open-source software Lisp Machine Lisp Revolution OS vrms Free Software Foundation References External links In Support of Richard Stallman, a website which advocates for Stallman. Essays on the Philosophy of the GNU Project, almost all written by Stallman 1953 births Activists from New York City Jewish American atheists American bloggers American computer programmers Anti-natalists Articles containing video clips Artificial intelligence researchers Copyright activists Education activists Emacs Filkers Free software people Free software programmers GNU people Grace Murray Hopper Award laureates Harvard School of Engineering and Applied Sciences alumni Internet activists Jewish American scientists Linux people Lisp (programming language) people Living people MacArthur Fellows Massachusetts Institute of Technology School of Science alumni Members of the Free Software Foundation board of directors Members of the United States National Academy of Engineering Privacy activists Programming language designers	true	[ "a TEN Talk (originally 10Talk) is a short presentation on a topic of the speaker's choosing given at a BarCamp type conference. It derives from a TED Talk and originated at the 2012 RefreshCache v4 developer conference (now defunct) in Gilbert, Arizona during the open floor demo time with a description of \"Fast paced 10 minute presentations by the you and the other leaders among us.\" Since the term was still somewhat new at the time, a \"What is a Ten-Talk?\" page was created on the RefreshCache site with the following abbreviated description so potential Ten-Talk presenters would know exactly what was expected of them:\n \n A Ten-Talk is a fast-paced, ten minute POLISHED presentation on an interesting topic that you think will appeal to the Church IT / Web Developer audiences.\n \n Here are some examples of Ten-Talk topics:\n (1) Have you implemented something at your church that has been a radical success or epic failure? We can learn from either of these!\n (2) Do you have an inspirational message that can lead others to action? Even better if you can share how this message inspired you to action and then show us what you did.\n (3) Have you spent time researching and understanding something in the world of ministry software or Church IT? Maybe you are an expert in [redacted]. Present this to the Church IT Network /RefreshCache community and share what you know. Your research may help another church find the solution to a problem they are facing, or save them the trouble of doing all the research you just did by realizing it won't work for them.\n\nIt was later adopted at the national Church IT Round Table conference held in February 2013 in Phoenix, Arizona when the two events began to intermingle and used again in 2014 at the Peoria, Illinois event where it was re-described as \"10Talks (or TEN-Talks) are 10 minute, fast paced talks on a topic. These are perfect sessions for raising awareness about a topic, tool, or idea that you think your peers should know.\"\n\nIts use outside of CITRT conferences is thought to begin with the WLAN professionals summit in February 2014.\n\nReferences\n\nPresentation", "Modron is an adventure for fantasy role-playing games published by Judges Guild in 1978.\n\nPlot summary\nModron is a scenario describing the village of Modron and a nearby underwater adventure, each with a large map. It includes both village and underwater encounters.\n\nModron is a water goddess whose city was somehow preserved in a battle between her worshippers and the worshippers of her rival god, Proteus. Proteus' people's homes were destroyed, but a new city was built on top of the ruins. Explorers in the city can find a myriad of wealth and adventures. Several characters are sketchily described for the players, if they choose to use them.\n\nPublication history\nModron was written by Bob Bledsaw and Gary Adams, and was published by Judges Guild in 1978 as a 16-page digest-sized book with a blue cover and two large maps. Judges Guild published a second edition in 1980.\n\nA listing of cumulative sales from 1981 shows that Modron sold over 15,000 units.\n\nReception\nElisabeth Barrington reviewed Modron in The Space Gamer No. 30. Barrington commented that \"The graphics on the maps are excellent. The ideas presented in the background are interesting and novel, to some extent. Clarity is the key word in this module. Whatever is described is organized and easy to read.\" However, she added \"BUT there is not much described. In each room or place the characters go, the DM must quickly invent a few things to flesh out the descriptions given in the booklet. There are people in the places, and a couple of items, and that is all that is given. No room descriptions, no special traps or interesting things that happen unless you make them up as you go along; just a person or monster and some items. There are some bad typos in the booklet, making things a little hard to figure out at times, but the great organization of the book makes up for that one little problem.\" Barrington concludes her review by saying, \"If you are the type of DM who wants the bare minimum provided for your campaign, this is for you. But you might find that [the price] is a little high to pay for descriptions of people. It is fun to play, and there are some new things to find, but I do not think it is worth the price.\"\n\nWilliam Fawcett reviewed Modron in The Dragon #44. Fawcett commented that \"This set is inexpensive and has some good expansions of ideas mentioned, but not detailed, in earlier Guild products. Modron could be easily included in a campaign that included nothing else from the Guild.\"\n\nReviews\n Different Worlds #8 (Jun 1980)\n\nReferences\n\nJudges Guild fantasy role-playing game adventures" ]
[ "Richard Stallman", "Harvard University and MIT", "What did he do at Harvard?", "As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55.", "What did he do at MIT?", "In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community,", "What else did you find interesting in this section?", "Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974." ]	C_48eeef8db60c4df68ba565e3cc185e20_1	Was he well liked at MIT?	4	Was Richard Stallman well liked at MIT?	Richard Stallman	As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS (which was the name of his computer accounts). Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead he decided to enroll as a graduate student at MIT. He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. As of 2009, the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO, Emacs for ITS, and the Lisp machine operating system (the CONS of 1974-1976 and the CADR of 1977-1979--this latter unit was commercialized by Symbolics and LMI starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency. When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20% of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. CANNOTANSWER	CANNOTANSWER	Richard Matthew Stallman (; born March 16, 1953), also known by his initials, rms, is an American free software movement activist and programmer. He campaigns for software to be distributed in such a manner, so that its users receive the freedoms to use, study, distribute, and modify that software. Software that ensures these freedoms is termed free software. Stallman launched the GNU Project, founded the Free Software Foundation, developed the GNU Compiler Collection and GNU Emacs, and wrote the GNU General Public License. Stallman launched the GNU Project in September 1983 to write a Unix-like computer operating system composed entirely of free software. With this, he also launched the free software movement. He has been the GNU project's lead architect and organizer, and developed a number of pieces of widely used GNU software including, among others, the GNU Compiler Collection, GNU Debugger, and GNU Emacs text editor. In October 1985 he founded the Free Software Foundation (FSF). Stallman pioneered the concept of copyleft, which uses the principles of copyright law to preserve the right to use, modify, and distribute free software. He is the main author of free software licenses which describe those terms, most notably the GNU General Public License (GPL), the most widely used free software license. In 1989, he co-founded the League for Programming Freedom. Since the mid-1990s, Stallman has spent most of his time advocating for free software, as well as campaigning against software patents, digital rights management (which he refers to as digital restrictions management, calling the more common term misleading), and other legal and technical systems which he sees as taking away users' freedoms. This has included software license agreements, non-disclosure agreements, activation keys, dongles, copy restriction, proprietary formats, and binary executables without source code. In September 2019, Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT after making controversial comments about the Jeffrey Epstein sex trafficking scandal. Stallman remained head of the GNU Project, and in 2021 returned to the FSF board of directors. Early life Stallman was born March 16, 1953, in New York City, to a family of Jewish heritage. He had a troublesome relationship with his parents and did not feel he had a proper home. He was interested in computers at a young age; when Stallman was a pre-teen at a summer camp, he read manuals for the IBM 7094. From 1967 to 1969, Stallman attended a Columbia University Saturday program for high school students. Stallman was also a volunteer laboratory assistant in the biology department at Rockefeller University. Although he was interested in mathematics and physics, his supervising professor at Rockefeller thought he showed promise as a biologist. His first experience with actual computers was at the IBM New York Scientific Center when he was in high school. He was hired for the summer in 1970, following his senior year of high school, to write a numerical analysis program in Fortran. He completed the task after a couple of weeks ("I swore that I would never use FORTRAN again because I despised it as a language compared with other languages") and spent the rest of the summer writing a text editor in APL and a preprocessor for the PL/I programming language on the IBM System/360. Harvard University and MIT As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS, which he used in his computer accounts. Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead decided to enroll as a graduate student at the Massachusetts Institute of Technology (MIT). He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. , the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO and Emacs for the Incompatible Timesharing System (ITS), as well as the Lisp machine operating system (the CONS of 1974–1976 and the CADR of 1977–1979—this latter unit was commercialized by Symbolics and Lisp Machines, Inc. (LMI) starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency (DARPA). When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20 percent of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. Events leading to GNU In the late 1970s and early 1980s, the hacker culture that Stallman thrived on began to fragment. To prevent software from being used on their competitors' computers, most manufacturers stopped distributing source code and began using copyright and restrictive software licenses to limit or prohibit copying and redistribution. Such proprietary software had existed before, and it became apparent that it would become the norm. This shift in the legal characteristics of software was a consequence triggered by the US Copyright Act of 1976. When Brian Reid in 1979 placed time bombs in the Scribe markup language and word processing system to restrict unlicensed access to the software, Stallman proclaimed it "a crime against humanity". During an interview in 2008, he clarified that it is blocking the user's freedom that he believes is a crime, not the issue of charging for software. Stallman's texinfo is a GPL replacement, loosely based on Scribe; the original version was finished in 1986. In 1980, Stallman and some other hackers at the AI Lab were refused access to the source code for the software of a newly installed laser printer, the Xerox 9700. Stallman had modified the software for the Lab's previous laser printer (the XGP, Xerographic Printer), so it electronically messaged a user when the person's job was printed, and would message all logged-in users waiting for print jobs if the printer was jammed. Not being able to add these features to the new printer was a major inconvenience, as the printer was on a different floor from most of the users. This experience convinced Stallman of people's need to be able to freely modify the software they use. Richard Greenblatt, a fellow AI Lab hacker, founded Lisp Machines, Inc. (LMI) to market Lisp machines, which he and Tom Knight designed at the lab. Greenblatt rejected outside investment, believing that the proceeds from the construction and sale of a few machines could be profitably reinvested in the growth of the company. In contrast, the other hackers felt that the venture capital-funded approach was better. As no agreement could be reached, hackers from the latter camp founded Symbolics, with the aid of Russ Noftsker, an AI Lab administrator. Symbolics recruited most of the remaining hackers including notable hacker Bill Gosper, who then left the AI Lab. Symbolics also forced Greenblatt to resign by citing MIT policies. While both companies delivered proprietary software, Stallman believed that LMI, unlike Symbolics, had tried to avoid hurting the lab's community. For two years, from 1982 to the end of 1983, Stallman worked by himself to clone the output of the Symbolics programmers, with the aim of preventing them from gaining a monopoly on the lab's computers. Stallman argues that software users should have the freedom to share with their neighbors and be able to study and make changes to the software that they use. He maintains that attempts by proprietary software vendors to prohibit these acts are antisocial and unethical. The phrase "software wants to be free" is often incorrectly attributed to him, and Stallman argues that this is a misstatement of his philosophy. He argues that freedom is vital for the sake of users and society as a moral value, and not merely for pragmatic reasons such as possibly developing technically superior software. Eric S. Raymond, one of the creators of the open-source movement, argues that moral arguments, rather than pragmatic ones, alienate potential allies and hurt the end goal of removing code secrecy. In February 1984, Stallman quit his job at MIT to work full-time on the GNU project, which he had announced in September 1983. Since then, he had remained affiliated with MIT as an unpaid "visiting scientist" in the Computer Science and Artificial Intelligence Laboratory. Until "around 1998", he maintained an office at the Institute that doubled as his legal residence. GNU project Stallman announced the plan for the GNU operating system in September 1983 on several ARPANET mailing lists and USENET. He started the project on his own and describes: "As an operating system developer, I had the right skills for this job. So even though I could not take success for granted, I realized that I was elected to do the job. I chose to make the system compatible with Unix so that it would be portable, and so that Unix users could easily switch to it." In 1985, Stallman published the GNU Manifesto, which outlined his motivation for creating a free operating system called GNU, which would be compatible with Unix. The name GNU is a recursive acronym for "GNU's Not Unix". Soon after, he started a nonprofit corporation called the Free Software Foundation to employ free software programmers and provide a legal infrastructure for the free software movement. Stallman was the nonsalaried president of the FSF, which is a 501(c)(3) nonprofit organization founded in Massachusetts. Stallman popularized the concept of copyleft, a legal mechanism to protect the modification and redistribution rights for free software. It was first implemented in the GNU Emacs General Public License, and in 1989 the first program-independent GNU General Public License (GPL) was released. By then, much of the GNU system had been completed. Stallman was responsible for contributing many necessary tools, including a text editor (Emacs), compiler (GCC), debugger (GNU Debugger), and a build automator (GNU make). The notable omission was a kernel. In 1990, members of the GNU project began using Carnegie Mellon's Mach microkernel in a project called GNU Hurd, which has yet to achieve the maturity level required for full POSIX compliance. In 1991, Linus Torvalds, a Finnish student, used the GNU's development tools to produce the free monolithic Linux kernel. The existing programs from the GNU project were readily ported to run on the resultant platform. Most sources use the name Linux to refer to the general-purpose operating system thus formed, while Stallman and the FSF call it GNU/Linux. This has been a longstanding naming controversy in the free software community. Stallman argues that not using GNU in the name of the operating system unfairly disparages the value of the GNU project and harms the sustainability of the free software movement by breaking the link between the software and the free software philosophy of the GNU project. Stallman's influences on hacker culture include the name POSIX and the Emacs editor. On Unix systems, GNU Emacs's popularity rivaled that of another editor vi, spawning an editor war. Stallman's take on this was to canonize himself as St. IGNUcius of the Church of Emacs and acknowledge that "vi vi vi is the editor of the beast", while "using a free version of vi is not a sin; it is a penance". On his homepage Stallman explains what a life in the Church of Emacs means to its members: "Sainthood in the Church of Emacs requires living a life of purity—but in the Church of Emacs, this does not require celibacy (a sigh of relief is heard)". In 1992, developers at Lucid Inc. doing their own work on Emacs clashed with Stallman and ultimately forked the software into what would become XEmacs. The technology journalist Andrew Leonard has characterized what he sees as Stallman's uncompromising stubbornness as common among elite computer programmers: In 2018, Stallman instituted "Kind Communication Guidelines" for the GNU project to help its mailing list discussions remain constructive while avoiding explicitly promoting diversity. In October 2019, a public statement signed by 33 maintainers of the GNU project asserted that Stallman's behaviour had "undermined a core value of the GNU project: the empowerment of all computer users" and called for "GNU maintainers to collectively decide about the organization of the project". The statement was published soon after Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT in September 2019. In spite of that, Stallman remained head of the GNU project. Activism Stallman has written many essays on software freedom, and has been an outspoken political campaigner for the free software movement since the early 1990s. The speeches he has regularly given are titled The GNU Project and the Free Software Movement, The Dangers of Software Patents, and Copyright and Community in the Age of Computer Networks. In 2006 and 2007, during the eighteen month public consultation for the drafting of version 3 of the GNU General Public License, he added a fourth topic explaining the proposed changes. Stallman's staunch advocacy for free software inspired the creation of the Virtual Richard M. Stallman (vrms), software that analyzes the packages currently installed on a Debian GNU/Linux system, and reports those that are from the non-free tree. Stallman disagrees with parts of Debian's definition of free software. In 1999, Stallman called for development of a free online encyclopedia through the means of inviting the public to contribute articles. The resulting GNUPedia was eventually retired in favour of the emerging Wikipedia, which had similar aims and was enjoying greater success. Stallman is a world traveler and has visited at least 65 countries, mostly to speak about free software and the GNU project. According to Stallman, the free software movement has much in common with that of Mahatma Gandhi. Stallman is also highly critical of the effect that drug patents have had on developing countries. In Venezuela, Stallman has delivered public speeches and promoted the adoption of free software in the state's oil company (PDVSA), in municipal government, and in the nation's military. In meetings with Hugo Chávez and in public speeches, Stallman criticised some policies on television broadcasting, free speech rights, and privacy. Stallman was on the Advisory Council of Latin American television station teleSUR from its launch but resigned in February 2011, criticizing pro-Gaddafi propaganda during the Arab Spring. In August 2006, at his meetings with the government of the Indian State of Kerala, he persuaded officials to discard proprietary software, such as Microsoft's, at state-run schools. This has resulted in a landmark decision to switch all school computers in 12,500 high schools from Windows to a free software operating system. After personal meetings, Stallman obtained positive statements about the free software movement from the then-president of India, , French 2007 presidential candidate Ségolène Royal, and the president of Ecuador Rafael Correa. Stallman has participated in protests about software patents, digital rights management, and proprietary software. Protesting against proprietary software in April 2006, Stallman held a "Don't buy from ATI, enemy of your freedom" placard at a speech by an ATI representative in the building where Stallman worked, resulting in the police being called. AMD has since acquired ATI and has taken steps to make their hardware documentation available for use by the free software community. In response to Apple's Macintosh look and feel lawsuits against Microsoft and Hewlett-Packard in 1988, Stallman called for a boycott of Apple products on the grounds that a successful look and feel lawsuit would "put an end to free software that could substitute for commercial software". The boycott was lifted in 1995, which meant the FSF started to accept patches to GNU software for Apple operating systems. Stallman has characterized Steve Jobs as having a "malign influence" on computing because of Jobs' leadership in guiding Apple to produce closed platforms. In 1993, while Jobs was at NeXT, Jobs asked Stallman if he could distribute a modified GCC in two parts, one part under GPL and the other part, an Objective-C preprocessor under a proprietary license. Stallman initially thought this would be legal, but since he also thought it would be "very undesirable for free software", he asked a lawyer for advice. The response he got was that judges would consider such schemes to be "subterfuges" and would be very harsh toward them, and a judge would ask whether it was "really" one program, rather than how the parts were labeled. Therefore, Stallman sent a message back to Jobs which said they believed Jobs' plan was not allowed by the GPL, which resulted in NeXT releasing the Objective-C front end under GPL. For a period of time, Stallman used a notebook from the One Laptop per Child program. Stallman's computer is a refurbished ThinkPad T400s with Libreboot, a free BIOS replacement, and the GNU/Linux distribution Trisquel. Before the ThinkPad T400s, Stallman used a Thinkpad X60 with Libreboot and Trisquel GNU/Linux. And before the X60, Stallman used the Lemote Yeeloong netbook (using the same company's Loongson processor) which he chose because, like the X60 and the T400s, it could run with free software at the BIOS level, stating "freedom is my priority. I've campaigned for freedom since 1983, and I am not going to surrender that freedom for the sake of a more convenient computer." Stallman's Lemote was stolen from him in 2012 while in Argentina. Before Trisquel, Stallman has used the gNewSense operating system. Copyright reduction Stallman has regularly given a talk entitled "Copyright vs. Community" where he reviews the state of digital rights management (DRM) and names many of the products and corporations which he boycotts. His approach to DRM is best summed up by the FSF Defective by Design campaign. In the talks, he makes proposals for a "reduced copyright" and suggests a 10-year limit on copyright. He suggests that, instead of restrictions on sharing, authors be supported using a tax, with revenues distributed among them based on cubic roots of their popularity to ensure that "fairly successful non-stars" receive a greater share than they do now (compare with private copying levy which is associated with proponents of strong copyright), or a convenient anonymous micropayment system for people to support authors directly. He indicates that no form of non-commercial sharing of copies should be considered a copyright violation. He has advocated civil disobedience in a comment on Ley Sinde. Stallman has also helped and supported the International Music Score Library Project in getting back online, after it had been taken down on October 19, 2007, following a cease and desist letter from Universal Edition. Stallman mentions the dangers some e-books bring compared to paper books, with the example of the Amazon Kindle e-reader that prevents the copying of e-books and allows Amazon to order automatic deletion of a book. He says that such e-books present a big step backward with respect to paper books by being less easy to use, copy, lend to others or sell, also mentioning that Amazon e-books cannot be bought anonymously. His short story "The Right to Read" provides a picture of a dystopian future if the right to share books is impeded. He objects to many of the terms within typical end-user license agreements that accompany e-books. Stallman discourages the use of several storage technologies such as DVD or Blu-ray video discs because the content of such media is encrypted. He considers manufacturers' use of encryption on non-secret data (to force the user to view certain promotional material) as a conspiracy. He recognized the Sony BMG copy protection rootkit scandal to be a criminal act by Sony. Stallman supports a general boycott of Sony for its legal actions against George Hotz. Stallman has suggested that the United States government may encourage the use of software as a service because this would allow them to access users' data without needing a search warrant. He denies being an anarchist despite his wariness of some legislation and the fact that he has "advocated strongly for user privacy and his own view of software freedom". Terminologies Stallman places great importance on the words and labels people use to talk about the world, including the relationship between software and freedom. He asks people to say free software and GNU/Linux, and to avoid the terms intellectual property and piracy (in relation to copying not approved by the publisher). One of his criteria for giving an interview to a journalist is that the journalist agrees to use his terminology throughout the article. He has been known to turn down speaking requests over some terminology issues. Stallman argues that the term intellectual property is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark, and other areas of law by lumping together things that are more dissimilar than similar. He also argues that by referring to these laws as property laws, the term biases the discussion when thinking about how to treat these issues, writing: An example of cautioning others to avoid other terminology while also offering suggestions for possible alternatives is this sentence of an e-mail by Stallman to a public mailing list: Open source and Free software His requests that people use certain terms, and his ongoing efforts to convince people of the importance of terminology, are a source of regular misunderstanding and friction with parts of the free software and open-source communities. After initially accepting the concept, Stallman rejects a common alternative term, open-source software, because it does not call to mind what Stallman sees as the value of the software: freedom. He wrote, "Free software is a political movement; open source is a development model." Thus, he believes that the use of the term will not inform people of the freedom issues, and will not lead to people valuing and defending their freedom. Two alternatives which Stallman does accept are software libre and unfettered software, but free software is the term he asks people to use in English. For similar reasons, he argues for the term proprietary software or non-free software rather than closed-source software, when referring to software that is not free software. Linux and GNU Stallman asks that the term GNU/Linux, which he pronounces , be used to refer to the operating system created by combining the GNU system and the kernel Linux. Stallman refers to this operating system as "a variant of GNU, and the GNU Project is its principal developer". He claims that the connection between the GNU project's philosophy and its software is broken when people refer to the combination as merely Linux. Starting around 2003, he began also using the term GNU+Linux, which he pronounces , to prevent others from pronouncing the phrase GNU/Linux as , which would erroneously imply that the kernel Linux is maintained by the GNU project. The creator of Linux, Linus Torvalds, has publicly stated that he objects to modification of the name, and that the rename "is their [the FSF] confusion not ours". Surveillance resistance Stallman professes admiration for Julian Assange and Edward Snowden. He has spoken against government and corporate surveillance on many occasions. He refers to mobile phones as "portable surveillance and tracking devices", refusing to own a cell phone due to the lack of phones running entirely on free software. He also avoids using a key card to enter his office building since key card systems track each location and time that someone enters the building using a card. He usually does not browse the web directly from his personal computer. Instead, he uses GNU Womb's grab-url-from-mail utility, an email-based proxy which downloads the web page content and then emails it to the user. More recently, he stated that he accesses all web sites via Tor, except for Wikipedia (which generally disallows editing from Tor unless users have an IP block exemption). Personal life Stallman resides in Cambridge, Massachusetts. He speaks English, French, Spanish and some Indonesian. He has said that he is "an atheist of Jewish ancestry" and often wears a button that reads "Impeach God". Stallman has written a collection of filk music and parody songs. He is childfree and antinatalist. He denies having Asperger's, but has sometimes speculated whether he could have a "shadow" version of it. Resignation from MIT and FSF In August and September 2019, it was learned that Jeffrey Epstein had made donations to MIT, and in the wake of this, MIT Media Lab director Joi Ito resigned. An internal MIT CSAIL listserv mailing list thread was started to protest the coverup of MIT's connections to Epstein. In the thread, discussion had turned to deceased MIT professor Marvin Minsky, who was named by Virginia Giuffre as one of the people that Epstein had directed her to have sex with. Giuffre, a minor at the time, had been caught in Epstein's underage sex trafficking ring. In response to a comment where one reply stated that Minsky "is accused of assaulting one of Epstein's victims", Stallman questioned whether the word "assault" was applicable in that case, arguing that "the most plausible scenario is that she presented herself to him as entirely willing. Assuming she was being coerced by Epstein, he would have had every reason to conceal that from most of his associates". When challenged by other members of the mailing list, he added "It is morally absurd to define 'rape' in a way that depends on minor details such as which country it was in or whether the victim was 18 years old or 17". Stallman remained critical of Epstein and his role, stating "We know that Giuffre was being coerced into sex – by Epstein. She was being harmed." Stallman's comments along with a compilation of accusations against him were published to the public via Medium by Selam Gano, who outlined MIT alumnae claims of sexual harassment and contributions to a hostile environment by Stallman. Vice published a copy of the email chain on September 13, 2019, drawing attention to Stallman's comments. Stallman's writings from 2013 and earlier related to underage sex and child pornography laws resurfaced, increasing the controversy. Tied to his comments regarding Minsky, this led to several calling for Stallman's resignation. On September 14, Stallman acknowledged that since the time of his past writings, he had learned that there were problems with underage sex, writing on his blog: "Through personal conversations in recent years, I've learned to understand how sex with a child can harm per psychologically. This changed my mind about the matter: I think adults should not do that." On September 16, Stallman announced his resignation from both MIT and FSF, "due to pressure on MIT and me over a series of misunderstandings and mischaracterizations". In a post on his website, Stallman asserted that his posts to the email lists were not to defend Epstein, stating "Nothing could be further from the truth. I've called him a 'serial rapist,' and said he deserved to be imprisoned. But many people now believe I defended him—and other inaccurate claims—and feel a real hurt because of what they believe I said. I'm sorry for that hurt. I wish I could have prevented the misunderstanding." Return to FSF In March 2021, at LibrePlanet2021, Stallman announced his return to the FSF board of directors. Shortly thereafter, an open letter was published on GitHub asking for Stallman's removal, along with the entire FSF board of directors, with the support of prominent open-source organizations including GNOME and Mozilla. The letter includes a list of accusations against Stallman. In response, an open letter asking for the FSF to retain Stallman was also published, arguing that Stallman's statements were mischaracterized, misunderstood and that they need to be interpreted in context. The FSF board in April 12 made a statement re-affirming its decision to bring back Richard Stallman. Following this, Stallman issued a statement explaining his poor social skills and apologizing. Multiple organizations criticized, defunded and/or cut ties with the FSF, including: Red Hat, the Free Software Foundation Europe, the Software Freedom Conservacy, SUSE, the OSI, the Document Foundation, the EFF, KDE, and the Tor Project. Debian declined to issue a statement after a community voting on the issue. However, this had relatively little impact on the FSF, as it has stated that direct financial support from corporations accounted for less than 3% of its revenue in the most recent fiscal year. Honors and awards 1986: Honorary lifetime membership of the Chalmers University of Technology Computer Society 1990: Exceptional merit award MacArthur Fellowship ("genius grant") 1990: The Association for Computing Machinery's Grace Murray Hopper Award "For pioneering work in the development of the extensible editor EMACS (Editing Macros)" 1996: Honorary doctorate from Sweden's Royal Institute of Technology 1998: Electronic Frontier Foundation's Pioneer Award 1999: Yuri Rubinsky Memorial Award 2001: The Takeda Techno-Entrepreneurship Award for Social/Economic Well-Being () 2001: Honorary doctorate, from the University of Glasgow 2002: US National Academy of Engineering membership "for starting the GNU project, which produced influential, non-proprietary software tools, and for founding the free software movement" 2003: Honorary doctorate, from the Vrije Universiteit Brussel 2004: Honorary doctorate, from the Universidad Nacional de Salta 2004: Honorary professorship, from the Universidad Nacional de Ingeniería del Perú 2007: Honorary professorship, from the Universidad Inca Garcilaso de la Vega 2007: First Premio Internacional Extremadura al Conocimiento Libre 2007: Honorary doctorate, from the Universidad de Los Angeles de Chimbote 2007: Honorary doctorate, from the University of Pavia 2008: Honorary doctorate from the Universidad Nacional de Trujillo, in Peru 2009: Honorary doctorate, from Lakehead University 2011: Honorary doctorate, from National University of Córdoba 2012: Honorary professorship, from the Universidad César Vallejo de Trujillo, in Peru 2012: Honorary doctorate, from the Universidad Latinoamericana Cima de Tacna, in Peru 2012: Honorary doctorate, from the Universidad José Faustino Sánchez Carrión, in Peru 2014: Honorary doctorate, from Concordia University, in Montréal 2015: ACM Software System Award "For the development and leadership of GCC" 2016: Honorary doctorate, from Pierre and Marie Curie University 2016: Social Medicine award, from GNU Solidario Selected publications Manuals Selected essays See also 9882 Stallman Free as in Freedom, a biography by Sam Williams Free Software Street History of free and open-source software Lisp Machine Lisp Revolution OS vrms Free Software Foundation References External links In Support of Richard Stallman, a website which advocates for Stallman. Essays on the Philosophy of the GNU Project, almost all written by Stallman 1953 births Activists from New York City Jewish American atheists American bloggers American computer programmers Anti-natalists Articles containing video clips Artificial intelligence researchers Copyright activists Education activists Emacs Filkers Free software people Free software programmers GNU people Grace Murray Hopper Award laureates Harvard School of Engineering and Applied Sciences alumni Internet activists Jewish American scientists Linux people Lisp (programming language) people Living people MacArthur Fellows Massachusetts Institute of Technology School of Science alumni Members of the Free Software Foundation board of directors Members of the United States National Academy of Engineering Privacy activists Programming language designers	false	[ "Francis Eugene Low (October 27, 1921 – February 16, 2007) was an American theoretical physicist. He was an Institute Professor at MIT, and served as provost there from 1980 to 1985.\nHe was a member of the influential JASON Defense Advisory Group.\n\nBiography\n\nEarly career\nDuring the Second World War, Low worked on the Manhattan Project. He was based at what is now the Oak Ridge National Laboratory, working on the mathematics of uranium enrichment. He later entered the United States Army and served in the 10th Mountain Division.\n\nAfter the war, Low completed his studies at Columbia University, earning a Ph.D. in Physics in 1950. He then worked at the Institute for Advanced Study in Princeton, New Jersey, before taking up a faculty position at the University of Illinois.\n\nCareer at MIT\nLow joined the MIT physics faculty in 1957. There his Ph.D. students included Alan Guth, Mitchell Feigenbaum and Robert K. Logan.\n\nHe was a director of MIT's Center for Theoretical Physics and the Laboratory for Nuclear Science.\n\nIn 1969, Low helped found the Union of Concerned Scientists, and briefly served as its chairman. He stepped down after a disagreement with other members, who refused to consider studying whether nuclear reactors could be made safe and reliable.\n\nIn 1980, Low was appointed provost of MIT. During his five-year tenure, he was instrumental in bringing the Whitehead Institute to MIT, and expanded humanities education at the Institute.\n\nLow retired from MIT in 1991, but continued to teach for another few years. His text Classical Field Theory: Electromagnetism and Gravitation was published in 1997 by John Wiley & Sons.\n\nPersonal life\nIn 1948, Low married Natalie Sadigur. Low had a son Peter, two daughters, Julie and Margaret, and six grandsons; he liked to joke that this was statistically improbable. He became a widower in 2003.\n\nSee also\n MIT Physics Department\n\nReferences\n\nExternal links\n\n \n Francis E Low Foundation\n Francis E. Low Memorial Fund\n Francis E. Low: Coming of Age as a Physicist in Postwar America by David Kaiser. MIT Physics Annual. 2001\nNational Academy of Sciences Biographical Memoir\n\nMassachusetts Institute of Technology provosts\nMIT Center for Theoretical Physics faculty\n1921 births\n2007 deaths\nScientists from New York City\nPeople from Belmont, Massachusetts\nHarvard University alumni\nColumbia University alumni\nMembers of JASON (advisory group)\nManhattan Project people", "Sergio Fubini (December 31, 1928 – January 6, 2005) was an Italian theoretical physicist. He was one of the pioneers of string theory. He was engaged in peace activism in the Middle East.\n\nBiography \nFubini was born in Turin. In 1938, he fled the country as a politically persecuted Jew to Switzerland. In 1945, he attended the Lycée in Turin, where he studied physics and in 1950 graduated \"cum laude.\" Afterwards, he was an assistant in Turin. From 1954 to 1957, he was in the USA. From 1958 to 1967, he was at CERN in Geneva. In 1959, he became a professor for nuclear physics at University of Padua. In 1961, he became a professor for theoretical physics at University of Turin. From 1968 to 1973, he was at MIT, but taught summer courses in Turin. He went back to CERN in 1973 and was from 1971 to 1980 a member of the advisory board and had an important role in planning the Large Electron Positron Collider (LEP) as well as in discussions for the construction of the Middle East's Synchrotron, SESAME.\n\nAt MIT, he was with Gabriele Veneziano, Emilio Del Giudice and Paolo Di Vecchia at the center of an active school of theoretical physicist with close connections to Italy (with one of the Italian INFN and MIT financed \"Bruno Rossi\" exchange programs). \nHe and his co-workers did fundamental work in string theory.\nOther well-known MIT colleagues at that time were Victor Weisskopf (who was recruited by Fubini to MIT), Steven Weinberg and Roman Jackiw.\nFrom 1994 to 2001, he was a professor in Turin.\nFubini worked in the 1960s on current algebras and S-matrix theory (Regge trajectories among other things), in particular on their field-theoretical foundations. \nIn the 1970s, he was with his MIT colleagues and pupils Gabriele Veneziano, Emilio Del Giudice and Paolo Di Vecchia one of the pioneers of string theory (the team introduced the so-called DDF states).\nHe worked in the 1970s on other classical solutions of Yang–Mills equations and conformally invariant quantum field theory.\n\nFubini died in 2005 in Nyon. He married Marina Colombo in 1956 and had a daughter with her.\n\nHonors \nFubini received the Dannie Heineman Prize for Mathematical Physics in 1968 and received an honorary doctorate from the University of Heidelberg.\n\nReferences\n\nExternal links \n Memorial tribute by Sameen Ahmed Khan at the International Association of Mathematical Physics (2005). \n Website on the history of SESAME\n Memorial tribute by Jackiw\n Memorial website at CERN\n Scientific publications of Sergio Fubini on INSPIRE-HEP\n\n1928 births\n2005 deaths\nPeople associated with CERN\n20th-century Italian Jews\nItalian string theorists\nJewish physicists\nMassachusetts Institute of Technology faculty\nScientists from Turin\nUniversity of Padua faculty\nUniversity of Turin faculty\nJews who emigrated to escape Nazism" ]
[ "Richard Stallman", "Harvard University and MIT", "What did he do at Harvard?", "As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55.", "What did he do at MIT?", "In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community,", "What else did you find interesting in this section?", "Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974.", "Was he well liked at MIT?", "I don't know." ]	C_48eeef8db60c4df68ba565e3cc185e20_1	How long was the MIT tenure?	5	How long was Richard Stallman's MIT tenure?	Richard Stallman	As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS (which was the name of his computer accounts). Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead he decided to enroll as a graduate student at MIT. He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. As of 2009, the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO, Emacs for ITS, and the Lisp machine operating system (the CONS of 1974-1976 and the CADR of 1977-1979--this latter unit was commercialized by Symbolics and LMI starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency. When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20% of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. CANNOTANSWER	As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO, Emacs for ITS, and the Lisp machine operating system (the CONS of 1974-1976	Richard Matthew Stallman (; born March 16, 1953), also known by his initials, rms, is an American free software movement activist and programmer. He campaigns for software to be distributed in such a manner, so that its users receive the freedoms to use, study, distribute, and modify that software. Software that ensures these freedoms is termed free software. Stallman launched the GNU Project, founded the Free Software Foundation, developed the GNU Compiler Collection and GNU Emacs, and wrote the GNU General Public License. Stallman launched the GNU Project in September 1983 to write a Unix-like computer operating system composed entirely of free software. With this, he also launched the free software movement. He has been the GNU project's lead architect and organizer, and developed a number of pieces of widely used GNU software including, among others, the GNU Compiler Collection, GNU Debugger, and GNU Emacs text editor. In October 1985 he founded the Free Software Foundation (FSF). Stallman pioneered the concept of copyleft, which uses the principles of copyright law to preserve the right to use, modify, and distribute free software. He is the main author of free software licenses which describe those terms, most notably the GNU General Public License (GPL), the most widely used free software license. In 1989, he co-founded the League for Programming Freedom. Since the mid-1990s, Stallman has spent most of his time advocating for free software, as well as campaigning against software patents, digital rights management (which he refers to as digital restrictions management, calling the more common term misleading), and other legal and technical systems which he sees as taking away users' freedoms. This has included software license agreements, non-disclosure agreements, activation keys, dongles, copy restriction, proprietary formats, and binary executables without source code. In September 2019, Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT after making controversial comments about the Jeffrey Epstein sex trafficking scandal. Stallman remained head of the GNU Project, and in 2021 returned to the FSF board of directors. Early life Stallman was born March 16, 1953, in New York City, to a family of Jewish heritage. He had a troublesome relationship with his parents and did not feel he had a proper home. He was interested in computers at a young age; when Stallman was a pre-teen at a summer camp, he read manuals for the IBM 7094. From 1967 to 1969, Stallman attended a Columbia University Saturday program for high school students. Stallman was also a volunteer laboratory assistant in the biology department at Rockefeller University. Although he was interested in mathematics and physics, his supervising professor at Rockefeller thought he showed promise as a biologist. His first experience with actual computers was at the IBM New York Scientific Center when he was in high school. He was hired for the summer in 1970, following his senior year of high school, to write a numerical analysis program in Fortran. He completed the task after a couple of weeks ("I swore that I would never use FORTRAN again because I despised it as a language compared with other languages") and spent the rest of the summer writing a text editor in APL and a preprocessor for the PL/I programming language on the IBM System/360. Harvard University and MIT As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS, which he used in his computer accounts. Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead decided to enroll as a graduate student at the Massachusetts Institute of Technology (MIT). He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. , the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO and Emacs for the Incompatible Timesharing System (ITS), as well as the Lisp machine operating system (the CONS of 1974–1976 and the CADR of 1977–1979—this latter unit was commercialized by Symbolics and Lisp Machines, Inc. (LMI) starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency (DARPA). When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20 percent of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. Events leading to GNU In the late 1970s and early 1980s, the hacker culture that Stallman thrived on began to fragment. To prevent software from being used on their competitors' computers, most manufacturers stopped distributing source code and began using copyright and restrictive software licenses to limit or prohibit copying and redistribution. Such proprietary software had existed before, and it became apparent that it would become the norm. This shift in the legal characteristics of software was a consequence triggered by the US Copyright Act of 1976. When Brian Reid in 1979 placed time bombs in the Scribe markup language and word processing system to restrict unlicensed access to the software, Stallman proclaimed it "a crime against humanity". During an interview in 2008, he clarified that it is blocking the user's freedom that he believes is a crime, not the issue of charging for software. Stallman's texinfo is a GPL replacement, loosely based on Scribe; the original version was finished in 1986. In 1980, Stallman and some other hackers at the AI Lab were refused access to the source code for the software of a newly installed laser printer, the Xerox 9700. Stallman had modified the software for the Lab's previous laser printer (the XGP, Xerographic Printer), so it electronically messaged a user when the person's job was printed, and would message all logged-in users waiting for print jobs if the printer was jammed. Not being able to add these features to the new printer was a major inconvenience, as the printer was on a different floor from most of the users. This experience convinced Stallman of people's need to be able to freely modify the software they use. Richard Greenblatt, a fellow AI Lab hacker, founded Lisp Machines, Inc. (LMI) to market Lisp machines, which he and Tom Knight designed at the lab. Greenblatt rejected outside investment, believing that the proceeds from the construction and sale of a few machines could be profitably reinvested in the growth of the company. In contrast, the other hackers felt that the venture capital-funded approach was better. As no agreement could be reached, hackers from the latter camp founded Symbolics, with the aid of Russ Noftsker, an AI Lab administrator. Symbolics recruited most of the remaining hackers including notable hacker Bill Gosper, who then left the AI Lab. Symbolics also forced Greenblatt to resign by citing MIT policies. While both companies delivered proprietary software, Stallman believed that LMI, unlike Symbolics, had tried to avoid hurting the lab's community. For two years, from 1982 to the end of 1983, Stallman worked by himself to clone the output of the Symbolics programmers, with the aim of preventing them from gaining a monopoly on the lab's computers. Stallman argues that software users should have the freedom to share with their neighbors and be able to study and make changes to the software that they use. He maintains that attempts by proprietary software vendors to prohibit these acts are antisocial and unethical. The phrase "software wants to be free" is often incorrectly attributed to him, and Stallman argues that this is a misstatement of his philosophy. He argues that freedom is vital for the sake of users and society as a moral value, and not merely for pragmatic reasons such as possibly developing technically superior software. Eric S. Raymond, one of the creators of the open-source movement, argues that moral arguments, rather than pragmatic ones, alienate potential allies and hurt the end goal of removing code secrecy. In February 1984, Stallman quit his job at MIT to work full-time on the GNU project, which he had announced in September 1983. Since then, he had remained affiliated with MIT as an unpaid "visiting scientist" in the Computer Science and Artificial Intelligence Laboratory. Until "around 1998", he maintained an office at the Institute that doubled as his legal residence. GNU project Stallman announced the plan for the GNU operating system in September 1983 on several ARPANET mailing lists and USENET. He started the project on his own and describes: "As an operating system developer, I had the right skills for this job. So even though I could not take success for granted, I realized that I was elected to do the job. I chose to make the system compatible with Unix so that it would be portable, and so that Unix users could easily switch to it." In 1985, Stallman published the GNU Manifesto, which outlined his motivation for creating a free operating system called GNU, which would be compatible with Unix. The name GNU is a recursive acronym for "GNU's Not Unix". Soon after, he started a nonprofit corporation called the Free Software Foundation to employ free software programmers and provide a legal infrastructure for the free software movement. Stallman was the nonsalaried president of the FSF, which is a 501(c)(3) nonprofit organization founded in Massachusetts. Stallman popularized the concept of copyleft, a legal mechanism to protect the modification and redistribution rights for free software. It was first implemented in the GNU Emacs General Public License, and in 1989 the first program-independent GNU General Public License (GPL) was released. By then, much of the GNU system had been completed. Stallman was responsible for contributing many necessary tools, including a text editor (Emacs), compiler (GCC), debugger (GNU Debugger), and a build automator (GNU make). The notable omission was a kernel. In 1990, members of the GNU project began using Carnegie Mellon's Mach microkernel in a project called GNU Hurd, which has yet to achieve the maturity level required for full POSIX compliance. In 1991, Linus Torvalds, a Finnish student, used the GNU's development tools to produce the free monolithic Linux kernel. The existing programs from the GNU project were readily ported to run on the resultant platform. Most sources use the name Linux to refer to the general-purpose operating system thus formed, while Stallman and the FSF call it GNU/Linux. This has been a longstanding naming controversy in the free software community. Stallman argues that not using GNU in the name of the operating system unfairly disparages the value of the GNU project and harms the sustainability of the free software movement by breaking the link between the software and the free software philosophy of the GNU project. Stallman's influences on hacker culture include the name POSIX and the Emacs editor. On Unix systems, GNU Emacs's popularity rivaled that of another editor vi, spawning an editor war. Stallman's take on this was to canonize himself as St. IGNUcius of the Church of Emacs and acknowledge that "vi vi vi is the editor of the beast", while "using a free version of vi is not a sin; it is a penance". On his homepage Stallman explains what a life in the Church of Emacs means to its members: "Sainthood in the Church of Emacs requires living a life of purity—but in the Church of Emacs, this does not require celibacy (a sigh of relief is heard)". In 1992, developers at Lucid Inc. doing their own work on Emacs clashed with Stallman and ultimately forked the software into what would become XEmacs. The technology journalist Andrew Leonard has characterized what he sees as Stallman's uncompromising stubbornness as common among elite computer programmers: In 2018, Stallman instituted "Kind Communication Guidelines" for the GNU project to help its mailing list discussions remain constructive while avoiding explicitly promoting diversity. In October 2019, a public statement signed by 33 maintainers of the GNU project asserted that Stallman's behaviour had "undermined a core value of the GNU project: the empowerment of all computer users" and called for "GNU maintainers to collectively decide about the organization of the project". The statement was published soon after Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT in September 2019. In spite of that, Stallman remained head of the GNU project. Activism Stallman has written many essays on software freedom, and has been an outspoken political campaigner for the free software movement since the early 1990s. The speeches he has regularly given are titled The GNU Project and the Free Software Movement, The Dangers of Software Patents, and Copyright and Community in the Age of Computer Networks. In 2006 and 2007, during the eighteen month public consultation for the drafting of version 3 of the GNU General Public License, he added a fourth topic explaining the proposed changes. Stallman's staunch advocacy for free software inspired the creation of the Virtual Richard M. Stallman (vrms), software that analyzes the packages currently installed on a Debian GNU/Linux system, and reports those that are from the non-free tree. Stallman disagrees with parts of Debian's definition of free software. In 1999, Stallman called for development of a free online encyclopedia through the means of inviting the public to contribute articles. The resulting GNUPedia was eventually retired in favour of the emerging Wikipedia, which had similar aims and was enjoying greater success. Stallman is a world traveler and has visited at least 65 countries, mostly to speak about free software and the GNU project. According to Stallman, the free software movement has much in common with that of Mahatma Gandhi. Stallman is also highly critical of the effect that drug patents have had on developing countries. In Venezuela, Stallman has delivered public speeches and promoted the adoption of free software in the state's oil company (PDVSA), in municipal government, and in the nation's military. In meetings with Hugo Chávez and in public speeches, Stallman criticised some policies on television broadcasting, free speech rights, and privacy. Stallman was on the Advisory Council of Latin American television station teleSUR from its launch but resigned in February 2011, criticizing pro-Gaddafi propaganda during the Arab Spring. In August 2006, at his meetings with the government of the Indian State of Kerala, he persuaded officials to discard proprietary software, such as Microsoft's, at state-run schools. This has resulted in a landmark decision to switch all school computers in 12,500 high schools from Windows to a free software operating system. After personal meetings, Stallman obtained positive statements about the free software movement from the then-president of India, , French 2007 presidential candidate Ségolène Royal, and the president of Ecuador Rafael Correa. Stallman has participated in protests about software patents, digital rights management, and proprietary software. Protesting against proprietary software in April 2006, Stallman held a "Don't buy from ATI, enemy of your freedom" placard at a speech by an ATI representative in the building where Stallman worked, resulting in the police being called. AMD has since acquired ATI and has taken steps to make their hardware documentation available for use by the free software community. In response to Apple's Macintosh look and feel lawsuits against Microsoft and Hewlett-Packard in 1988, Stallman called for a boycott of Apple products on the grounds that a successful look and feel lawsuit would "put an end to free software that could substitute for commercial software". The boycott was lifted in 1995, which meant the FSF started to accept patches to GNU software for Apple operating systems. Stallman has characterized Steve Jobs as having a "malign influence" on computing because of Jobs' leadership in guiding Apple to produce closed platforms. In 1993, while Jobs was at NeXT, Jobs asked Stallman if he could distribute a modified GCC in two parts, one part under GPL and the other part, an Objective-C preprocessor under a proprietary license. Stallman initially thought this would be legal, but since he also thought it would be "very undesirable for free software", he asked a lawyer for advice. The response he got was that judges would consider such schemes to be "subterfuges" and would be very harsh toward them, and a judge would ask whether it was "really" one program, rather than how the parts were labeled. Therefore, Stallman sent a message back to Jobs which said they believed Jobs' plan was not allowed by the GPL, which resulted in NeXT releasing the Objective-C front end under GPL. For a period of time, Stallman used a notebook from the One Laptop per Child program. Stallman's computer is a refurbished ThinkPad T400s with Libreboot, a free BIOS replacement, and the GNU/Linux distribution Trisquel. Before the ThinkPad T400s, Stallman used a Thinkpad X60 with Libreboot and Trisquel GNU/Linux. And before the X60, Stallman used the Lemote Yeeloong netbook (using the same company's Loongson processor) which he chose because, like the X60 and the T400s, it could run with free software at the BIOS level, stating "freedom is my priority. I've campaigned for freedom since 1983, and I am not going to surrender that freedom for the sake of a more convenient computer." Stallman's Lemote was stolen from him in 2012 while in Argentina. Before Trisquel, Stallman has used the gNewSense operating system. Copyright reduction Stallman has regularly given a talk entitled "Copyright vs. Community" where he reviews the state of digital rights management (DRM) and names many of the products and corporations which he boycotts. His approach to DRM is best summed up by the FSF Defective by Design campaign. In the talks, he makes proposals for a "reduced copyright" and suggests a 10-year limit on copyright. He suggests that, instead of restrictions on sharing, authors be supported using a tax, with revenues distributed among them based on cubic roots of their popularity to ensure that "fairly successful non-stars" receive a greater share than they do now (compare with private copying levy which is associated with proponents of strong copyright), or a convenient anonymous micropayment system for people to support authors directly. He indicates that no form of non-commercial sharing of copies should be considered a copyright violation. He has advocated civil disobedience in a comment on Ley Sinde. Stallman has also helped and supported the International Music Score Library Project in getting back online, after it had been taken down on October 19, 2007, following a cease and desist letter from Universal Edition. Stallman mentions the dangers some e-books bring compared to paper books, with the example of the Amazon Kindle e-reader that prevents the copying of e-books and allows Amazon to order automatic deletion of a book. He says that such e-books present a big step backward with respect to paper books by being less easy to use, copy, lend to others or sell, also mentioning that Amazon e-books cannot be bought anonymously. His short story "The Right to Read" provides a picture of a dystopian future if the right to share books is impeded. He objects to many of the terms within typical end-user license agreements that accompany e-books. Stallman discourages the use of several storage technologies such as DVD or Blu-ray video discs because the content of such media is encrypted. He considers manufacturers' use of encryption on non-secret data (to force the user to view certain promotional material) as a conspiracy. He recognized the Sony BMG copy protection rootkit scandal to be a criminal act by Sony. Stallman supports a general boycott of Sony for its legal actions against George Hotz. Stallman has suggested that the United States government may encourage the use of software as a service because this would allow them to access users' data without needing a search warrant. He denies being an anarchist despite his wariness of some legislation and the fact that he has "advocated strongly for user privacy and his own view of software freedom". Terminologies Stallman places great importance on the words and labels people use to talk about the world, including the relationship between software and freedom. He asks people to say free software and GNU/Linux, and to avoid the terms intellectual property and piracy (in relation to copying not approved by the publisher). One of his criteria for giving an interview to a journalist is that the journalist agrees to use his terminology throughout the article. He has been known to turn down speaking requests over some terminology issues. Stallman argues that the term intellectual property is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark, and other areas of law by lumping together things that are more dissimilar than similar. He also argues that by referring to these laws as property laws, the term biases the discussion when thinking about how to treat these issues, writing: An example of cautioning others to avoid other terminology while also offering suggestions for possible alternatives is this sentence of an e-mail by Stallman to a public mailing list: Open source and Free software His requests that people use certain terms, and his ongoing efforts to convince people of the importance of terminology, are a source of regular misunderstanding and friction with parts of the free software and open-source communities. After initially accepting the concept, Stallman rejects a common alternative term, open-source software, because it does not call to mind what Stallman sees as the value of the software: freedom. He wrote, "Free software is a political movement; open source is a development model." Thus, he believes that the use of the term will not inform people of the freedom issues, and will not lead to people valuing and defending their freedom. Two alternatives which Stallman does accept are software libre and unfettered software, but free software is the term he asks people to use in English. For similar reasons, he argues for the term proprietary software or non-free software rather than closed-source software, when referring to software that is not free software. Linux and GNU Stallman asks that the term GNU/Linux, which he pronounces , be used to refer to the operating system created by combining the GNU system and the kernel Linux. Stallman refers to this operating system as "a variant of GNU, and the GNU Project is its principal developer". He claims that the connection between the GNU project's philosophy and its software is broken when people refer to the combination as merely Linux. Starting around 2003, he began also using the term GNU+Linux, which he pronounces , to prevent others from pronouncing the phrase GNU/Linux as , which would erroneously imply that the kernel Linux is maintained by the GNU project. The creator of Linux, Linus Torvalds, has publicly stated that he objects to modification of the name, and that the rename "is their [the FSF] confusion not ours". Surveillance resistance Stallman professes admiration for Julian Assange and Edward Snowden. He has spoken against government and corporate surveillance on many occasions. He refers to mobile phones as "portable surveillance and tracking devices", refusing to own a cell phone due to the lack of phones running entirely on free software. He also avoids using a key card to enter his office building since key card systems track each location and time that someone enters the building using a card. He usually does not browse the web directly from his personal computer. Instead, he uses GNU Womb's grab-url-from-mail utility, an email-based proxy which downloads the web page content and then emails it to the user. More recently, he stated that he accesses all web sites via Tor, except for Wikipedia (which generally disallows editing from Tor unless users have an IP block exemption). Personal life Stallman resides in Cambridge, Massachusetts. He speaks English, French, Spanish and some Indonesian. He has said that he is "an atheist of Jewish ancestry" and often wears a button that reads "Impeach God". Stallman has written a collection of filk music and parody songs. He is childfree and antinatalist. He denies having Asperger's, but has sometimes speculated whether he could have a "shadow" version of it. Resignation from MIT and FSF In August and September 2019, it was learned that Jeffrey Epstein had made donations to MIT, and in the wake of this, MIT Media Lab director Joi Ito resigned. An internal MIT CSAIL listserv mailing list thread was started to protest the coverup of MIT's connections to Epstein. In the thread, discussion had turned to deceased MIT professor Marvin Minsky, who was named by Virginia Giuffre as one of the people that Epstein had directed her to have sex with. Giuffre, a minor at the time, had been caught in Epstein's underage sex trafficking ring. In response to a comment where one reply stated that Minsky "is accused of assaulting one of Epstein's victims", Stallman questioned whether the word "assault" was applicable in that case, arguing that "the most plausible scenario is that she presented herself to him as entirely willing. Assuming she was being coerced by Epstein, he would have had every reason to conceal that from most of his associates". When challenged by other members of the mailing list, he added "It is morally absurd to define 'rape' in a way that depends on minor details such as which country it was in or whether the victim was 18 years old or 17". Stallman remained critical of Epstein and his role, stating "We know that Giuffre was being coerced into sex – by Epstein. She was being harmed." Stallman's comments along with a compilation of accusations against him were published to the public via Medium by Selam Gano, who outlined MIT alumnae claims of sexual harassment and contributions to a hostile environment by Stallman. Vice published a copy of the email chain on September 13, 2019, drawing attention to Stallman's comments. Stallman's writings from 2013 and earlier related to underage sex and child pornography laws resurfaced, increasing the controversy. Tied to his comments regarding Minsky, this led to several calling for Stallman's resignation. On September 14, Stallman acknowledged that since the time of his past writings, he had learned that there were problems with underage sex, writing on his blog: "Through personal conversations in recent years, I've learned to understand how sex with a child can harm per psychologically. This changed my mind about the matter: I think adults should not do that." On September 16, Stallman announced his resignation from both MIT and FSF, "due to pressure on MIT and me over a series of misunderstandings and mischaracterizations". In a post on his website, Stallman asserted that his posts to the email lists were not to defend Epstein, stating "Nothing could be further from the truth. I've called him a 'serial rapist,' and said he deserved to be imprisoned. But many people now believe I defended him—and other inaccurate claims—and feel a real hurt because of what they believe I said. I'm sorry for that hurt. I wish I could have prevented the misunderstanding." Return to FSF In March 2021, at LibrePlanet2021, Stallman announced his return to the FSF board of directors. Shortly thereafter, an open letter was published on GitHub asking for Stallman's removal, along with the entire FSF board of directors, with the support of prominent open-source organizations including GNOME and Mozilla. The letter includes a list of accusations against Stallman. In response, an open letter asking for the FSF to retain Stallman was also published, arguing that Stallman's statements were mischaracterized, misunderstood and that they need to be interpreted in context. The FSF board in April 12 made a statement re-affirming its decision to bring back Richard Stallman. Following this, Stallman issued a statement explaining his poor social skills and apologizing. Multiple organizations criticized, defunded and/or cut ties with the FSF, including: Red Hat, the Free Software Foundation Europe, the Software Freedom Conservacy, SUSE, the OSI, the Document Foundation, the EFF, KDE, and the Tor Project. Debian declined to issue a statement after a community voting on the issue. However, this had relatively little impact on the FSF, as it has stated that direct financial support from corporations accounted for less than 3% of its revenue in the most recent fiscal year. Honors and awards 1986: Honorary lifetime membership of the Chalmers University of Technology Computer Society 1990: Exceptional merit award MacArthur Fellowship ("genius grant") 1990: The Association for Computing Machinery's Grace Murray Hopper Award "For pioneering work in the development of the extensible editor EMACS (Editing Macros)" 1996: Honorary doctorate from Sweden's Royal Institute of Technology 1998: Electronic Frontier Foundation's Pioneer Award 1999: Yuri Rubinsky Memorial Award 2001: The Takeda Techno-Entrepreneurship Award for Social/Economic Well-Being () 2001: Honorary doctorate, from the University of Glasgow 2002: US National Academy of Engineering membership "for starting the GNU project, which produced influential, non-proprietary software tools, and for founding the free software movement" 2003: Honorary doctorate, from the Vrije Universiteit Brussel 2004: Honorary doctorate, from the Universidad Nacional de Salta 2004: Honorary professorship, from the Universidad Nacional de Ingeniería del Perú 2007: Honorary professorship, from the Universidad Inca Garcilaso de la Vega 2007: First Premio Internacional Extremadura al Conocimiento Libre 2007: Honorary doctorate, from the Universidad de Los Angeles de Chimbote 2007: Honorary doctorate, from the University of Pavia 2008: Honorary doctorate from the Universidad Nacional de Trujillo, in Peru 2009: Honorary doctorate, from Lakehead University 2011: Honorary doctorate, from National University of Córdoba 2012: Honorary professorship, from the Universidad César Vallejo de Trujillo, in Peru 2012: Honorary doctorate, from the Universidad Latinoamericana Cima de Tacna, in Peru 2012: Honorary doctorate, from the Universidad José Faustino Sánchez Carrión, in Peru 2014: Honorary doctorate, from Concordia University, in Montréal 2015: ACM Software System Award "For the development and leadership of GCC" 2016: Honorary doctorate, from Pierre and Marie Curie University 2016: Social Medicine award, from GNU Solidario Selected publications Manuals Selected essays See also 9882 Stallman Free as in Freedom, a biography by Sam Williams Free Software Street History of free and open-source software Lisp Machine Lisp Revolution OS vrms Free Software Foundation References External links In Support of Richard Stallman, a website which advocates for Stallman. Essays on the Philosophy of the GNU Project, almost all written by Stallman 1953 births Activists from New York City Jewish American atheists American bloggers American computer programmers Anti-natalists Articles containing video clips Artificial intelligence researchers Copyright activists Education activists Emacs Filkers Free software people Free software programmers GNU people Grace Murray Hopper Award laureates Harvard School of Engineering and Applied Sciences alumni Internet activists Jewish American scientists Linux people Lisp (programming language) people Living people MacArthur Fellows Massachusetts Institute of Technology School of Science alumni Members of the Free Software Foundation board of directors Members of the United States National Academy of Engineering Privacy activists Programming language designers	false	[ "Edward Pennell Brooks (1896–1991), aka E.P. Brooks and Penn Brooks, was the founding Dean (from 1951 to 1959) of the MIT Sloan School of Management.\n\nPrior to his tenure, the Sloan School was known as the MIT Department of Business and Engineering Administration. A 1950 gift from MIT alumnus and GM Chairman Alfred P. Sloan turned the department into the School of Industrial Management, which opened its doors in 1952 with Brooks as its first dean. In 1964 the School was renamed the Alfred P. Sloan School of Management in its founder's honor.\n\nBrooks received his S.B. from the Massachusetts Institute of Technology in 1917. He was a member of the first class to receive the degree in Course XV: Engineering Administration.\n\nReferences\n\n1896 births\n1991 deaths\nMassachusetts Institute of Technology alumni\nMIT Sloan School of Management faculty", "Douglas A. Lauffenburger is an American academic who is the Ford Professor of Biological Engineering, Chemical Engineering, and Biology at the Massachusetts Institute of Technology (since 2009). He is a member of the David H. Koch Institute for Integrative Cancer Research and MIT Center for Gynepathology Research as well as an Affiliate, The Ragon Institute of MIT, MGH and Harvard. He is also editor in chief of the journal Integrative Biology.\n\nLauffenburger’s lab “emphasizes integration of experimental and mathematical/computational analysis approaches, toward development and validation of predictive models for physiologically-relevant behavior in terms of underlying molecular and molecular network properties.”\n\nHe is also one of six MIT professors elected as a fellow of the American Association for the Advancement of Science (AAAS).\n\nBiography\nLauffenburger earned a B.S. in Chemical Engineering from the University of Illinois and a Ph.D. in Chemical Engineering from the University of Minnesota. \n\nLauffenburger was a professor at the University of Illinois and the University of Pennsylvania and a visiting professor at the University of Wisconsin before his tenure at MIT. He was a visiting scientist at the University of Heidelberg in Germany. \n\nAt MIT, he has been a Professor at the Department of Biological Engineering since 1998 and was then Head, 1998-2019; Professor, Department of Chemical Engineering, 1995-present; Professor, Department of Biology, 2002-present.\n\nIn February 2021 Lauffenburger co-authored a paper in Nature Communications on how a certain level of COVID-19 anti-bodies may provide lasting protection against the virus. The paper was based on blood samples provided voluntarily by 4300 employees of SpaceX crediting also its CEO Elon Musk.\n\nReferences\n\nExternal links\nPubMed Publications List\n\nLiving people\nMIT School of Engineering faculty\nUniversity of Illinois alumni\nUniversity of Minnesota College of Science and Engineering alumni\nUniversity of Illinois faculty\nUniversity of Pennsylvania faculty\nAmerican editors\nAcademic journal editors\nYear of birth missing (living people)\nPlace of birth missing (living people)" ]
[ "Richard Stallman", "Harvard University and MIT", "What did he do at Harvard?", "As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55.", "What did he do at MIT?", "In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community,", "What else did you find interesting in this section?", "Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974.", "Was he well liked at MIT?", "I don't know.", "How long was the MIT tenure?", "As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO, Emacs for ITS, and the Lisp machine operating system (the CONS of 1974-1976" ]	C_48eeef8db60c4df68ba565e3cc185e20_1	Did Stallman have a family during his time at MIT?	6	Did Richard Stallman have a family during his time at MIT?	Richard Stallman	As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS (which was the name of his computer accounts). Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead he decided to enroll as a graduate student at MIT. He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. As of 2009, the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO, Emacs for ITS, and the Lisp machine operating system (the CONS of 1974-1976 and the CADR of 1977-1979--this latter unit was commercialized by Symbolics and LMI starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency. When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20% of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. CANNOTANSWER	CANNOTANSWER	Richard Matthew Stallman (; born March 16, 1953), also known by his initials, rms, is an American free software movement activist and programmer. He campaigns for software to be distributed in such a manner, so that its users receive the freedoms to use, study, distribute, and modify that software. Software that ensures these freedoms is termed free software. Stallman launched the GNU Project, founded the Free Software Foundation, developed the GNU Compiler Collection and GNU Emacs, and wrote the GNU General Public License. Stallman launched the GNU Project in September 1983 to write a Unix-like computer operating system composed entirely of free software. With this, he also launched the free software movement. He has been the GNU project's lead architect and organizer, and developed a number of pieces of widely used GNU software including, among others, the GNU Compiler Collection, GNU Debugger, and GNU Emacs text editor. In October 1985 he founded the Free Software Foundation (FSF). Stallman pioneered the concept of copyleft, which uses the principles of copyright law to preserve the right to use, modify, and distribute free software. He is the main author of free software licenses which describe those terms, most notably the GNU General Public License (GPL), the most widely used free software license. In 1989, he co-founded the League for Programming Freedom. Since the mid-1990s, Stallman has spent most of his time advocating for free software, as well as campaigning against software patents, digital rights management (which he refers to as digital restrictions management, calling the more common term misleading), and other legal and technical systems which he sees as taking away users' freedoms. This has included software license agreements, non-disclosure agreements, activation keys, dongles, copy restriction, proprietary formats, and binary executables without source code. In September 2019, Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT after making controversial comments about the Jeffrey Epstein sex trafficking scandal. Stallman remained head of the GNU Project, and in 2021 returned to the FSF board of directors. Early life Stallman was born March 16, 1953, in New York City, to a family of Jewish heritage. He had a troublesome relationship with his parents and did not feel he had a proper home. He was interested in computers at a young age; when Stallman was a pre-teen at a summer camp, he read manuals for the IBM 7094. From 1967 to 1969, Stallman attended a Columbia University Saturday program for high school students. Stallman was also a volunteer laboratory assistant in the biology department at Rockefeller University. Although he was interested in mathematics and physics, his supervising professor at Rockefeller thought he showed promise as a biologist. His first experience with actual computers was at the IBM New York Scientific Center when he was in high school. He was hired for the summer in 1970, following his senior year of high school, to write a numerical analysis program in Fortran. He completed the task after a couple of weeks ("I swore that I would never use FORTRAN again because I despised it as a language compared with other languages") and spent the rest of the summer writing a text editor in APL and a preprocessor for the PL/I programming language on the IBM System/360. Harvard University and MIT As a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: "For the first time in my life, I felt I had found a home at Harvard." In 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS, which he used in his computer accounts. Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974. Stallman considered staying on at Harvard, but instead decided to enroll as a graduate student at the Massachusetts Institute of Technology (MIT). He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory. While working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. , the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper. As a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO and Emacs for the Incompatible Timesharing System (ITS), as well as the Lisp machine operating system (the CONS of 1974–1976 and the CADR of 1977–1979—this latter unit was commercialized by Symbolics and Lisp Machines, Inc. (LMI) starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency (DARPA). When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20 percent of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward. Events leading to GNU In the late 1970s and early 1980s, the hacker culture that Stallman thrived on began to fragment. To prevent software from being used on their competitors' computers, most manufacturers stopped distributing source code and began using copyright and restrictive software licenses to limit or prohibit copying and redistribution. Such proprietary software had existed before, and it became apparent that it would become the norm. This shift in the legal characteristics of software was a consequence triggered by the US Copyright Act of 1976. When Brian Reid in 1979 placed time bombs in the Scribe markup language and word processing system to restrict unlicensed access to the software, Stallman proclaimed it "a crime against humanity". During an interview in 2008, he clarified that it is blocking the user's freedom that he believes is a crime, not the issue of charging for software. Stallman's texinfo is a GPL replacement, loosely based on Scribe; the original version was finished in 1986. In 1980, Stallman and some other hackers at the AI Lab were refused access to the source code for the software of a newly installed laser printer, the Xerox 9700. Stallman had modified the software for the Lab's previous laser printer (the XGP, Xerographic Printer), so it electronically messaged a user when the person's job was printed, and would message all logged-in users waiting for print jobs if the printer was jammed. Not being able to add these features to the new printer was a major inconvenience, as the printer was on a different floor from most of the users. This experience convinced Stallman of people's need to be able to freely modify the software they use. Richard Greenblatt, a fellow AI Lab hacker, founded Lisp Machines, Inc. (LMI) to market Lisp machines, which he and Tom Knight designed at the lab. Greenblatt rejected outside investment, believing that the proceeds from the construction and sale of a few machines could be profitably reinvested in the growth of the company. In contrast, the other hackers felt that the venture capital-funded approach was better. As no agreement could be reached, hackers from the latter camp founded Symbolics, with the aid of Russ Noftsker, an AI Lab administrator. Symbolics recruited most of the remaining hackers including notable hacker Bill Gosper, who then left the AI Lab. Symbolics also forced Greenblatt to resign by citing MIT policies. While both companies delivered proprietary software, Stallman believed that LMI, unlike Symbolics, had tried to avoid hurting the lab's community. For two years, from 1982 to the end of 1983, Stallman worked by himself to clone the output of the Symbolics programmers, with the aim of preventing them from gaining a monopoly on the lab's computers. Stallman argues that software users should have the freedom to share with their neighbors and be able to study and make changes to the software that they use. He maintains that attempts by proprietary software vendors to prohibit these acts are antisocial and unethical. The phrase "software wants to be free" is often incorrectly attributed to him, and Stallman argues that this is a misstatement of his philosophy. He argues that freedom is vital for the sake of users and society as a moral value, and not merely for pragmatic reasons such as possibly developing technically superior software. Eric S. Raymond, one of the creators of the open-source movement, argues that moral arguments, rather than pragmatic ones, alienate potential allies and hurt the end goal of removing code secrecy. In February 1984, Stallman quit his job at MIT to work full-time on the GNU project, which he had announced in September 1983. Since then, he had remained affiliated with MIT as an unpaid "visiting scientist" in the Computer Science and Artificial Intelligence Laboratory. Until "around 1998", he maintained an office at the Institute that doubled as his legal residence. GNU project Stallman announced the plan for the GNU operating system in September 1983 on several ARPANET mailing lists and USENET. He started the project on his own and describes: "As an operating system developer, I had the right skills for this job. So even though I could not take success for granted, I realized that I was elected to do the job. I chose to make the system compatible with Unix so that it would be portable, and so that Unix users could easily switch to it." In 1985, Stallman published the GNU Manifesto, which outlined his motivation for creating a free operating system called GNU, which would be compatible with Unix. The name GNU is a recursive acronym for "GNU's Not Unix". Soon after, he started a nonprofit corporation called the Free Software Foundation to employ free software programmers and provide a legal infrastructure for the free software movement. Stallman was the nonsalaried president of the FSF, which is a 501(c)(3) nonprofit organization founded in Massachusetts. Stallman popularized the concept of copyleft, a legal mechanism to protect the modification and redistribution rights for free software. It was first implemented in the GNU Emacs General Public License, and in 1989 the first program-independent GNU General Public License (GPL) was released. By then, much of the GNU system had been completed. Stallman was responsible for contributing many necessary tools, including a text editor (Emacs), compiler (GCC), debugger (GNU Debugger), and a build automator (GNU make). The notable omission was a kernel. In 1990, members of the GNU project began using Carnegie Mellon's Mach microkernel in a project called GNU Hurd, which has yet to achieve the maturity level required for full POSIX compliance. In 1991, Linus Torvalds, a Finnish student, used the GNU's development tools to produce the free monolithic Linux kernel. The existing programs from the GNU project were readily ported to run on the resultant platform. Most sources use the name Linux to refer to the general-purpose operating system thus formed, while Stallman and the FSF call it GNU/Linux. This has been a longstanding naming controversy in the free software community. Stallman argues that not using GNU in the name of the operating system unfairly disparages the value of the GNU project and harms the sustainability of the free software movement by breaking the link between the software and the free software philosophy of the GNU project. Stallman's influences on hacker culture include the name POSIX and the Emacs editor. On Unix systems, GNU Emacs's popularity rivaled that of another editor vi, spawning an editor war. Stallman's take on this was to canonize himself as St. IGNUcius of the Church of Emacs and acknowledge that "vi vi vi is the editor of the beast", while "using a free version of vi is not a sin; it is a penance". On his homepage Stallman explains what a life in the Church of Emacs means to its members: "Sainthood in the Church of Emacs requires living a life of purity—but in the Church of Emacs, this does not require celibacy (a sigh of relief is heard)". In 1992, developers at Lucid Inc. doing their own work on Emacs clashed with Stallman and ultimately forked the software into what would become XEmacs. The technology journalist Andrew Leonard has characterized what he sees as Stallman's uncompromising stubbornness as common among elite computer programmers: In 2018, Stallman instituted "Kind Communication Guidelines" for the GNU project to help its mailing list discussions remain constructive while avoiding explicitly promoting diversity. In October 2019, a public statement signed by 33 maintainers of the GNU project asserted that Stallman's behaviour had "undermined a core value of the GNU project: the empowerment of all computer users" and called for "GNU maintainers to collectively decide about the organization of the project". The statement was published soon after Stallman resigned as president of the FSF and left his "visiting scientist" role at MIT in September 2019. In spite of that, Stallman remained head of the GNU project. Activism Stallman has written many essays on software freedom, and has been an outspoken political campaigner for the free software movement since the early 1990s. The speeches he has regularly given are titled The GNU Project and the Free Software Movement, The Dangers of Software Patents, and Copyright and Community in the Age of Computer Networks. In 2006 and 2007, during the eighteen month public consultation for the drafting of version 3 of the GNU General Public License, he added a fourth topic explaining the proposed changes. Stallman's staunch advocacy for free software inspired the creation of the Virtual Richard M. Stallman (vrms), software that analyzes the packages currently installed on a Debian GNU/Linux system, and reports those that are from the non-free tree. Stallman disagrees with parts of Debian's definition of free software. In 1999, Stallman called for development of a free online encyclopedia through the means of inviting the public to contribute articles. The resulting GNUPedia was eventually retired in favour of the emerging Wikipedia, which had similar aims and was enjoying greater success. Stallman is a world traveler and has visited at least 65 countries, mostly to speak about free software and the GNU project. According to Stallman, the free software movement has much in common with that of Mahatma Gandhi. Stallman is also highly critical of the effect that drug patents have had on developing countries. In Venezuela, Stallman has delivered public speeches and promoted the adoption of free software in the state's oil company (PDVSA), in municipal government, and in the nation's military. In meetings with Hugo Chávez and in public speeches, Stallman criticised some policies on television broadcasting, free speech rights, and privacy. Stallman was on the Advisory Council of Latin American television station teleSUR from its launch but resigned in February 2011, criticizing pro-Gaddafi propaganda during the Arab Spring. In August 2006, at his meetings with the government of the Indian State of Kerala, he persuaded officials to discard proprietary software, such as Microsoft's, at state-run schools. This has resulted in a landmark decision to switch all school computers in 12,500 high schools from Windows to a free software operating system. After personal meetings, Stallman obtained positive statements about the free software movement from the then-president of India, , French 2007 presidential candidate Ségolène Royal, and the president of Ecuador Rafael Correa. Stallman has participated in protests about software patents, digital rights management, and proprietary software. Protesting against proprietary software in April 2006, Stallman held a "Don't buy from ATI, enemy of your freedom" placard at a speech by an ATI representative in the building where Stallman worked, resulting in the police being called. AMD has since acquired ATI and has taken steps to make their hardware documentation available for use by the free software community. In response to Apple's Macintosh look and feel lawsuits against Microsoft and Hewlett-Packard in 1988, Stallman called for a boycott of Apple products on the grounds that a successful look and feel lawsuit would "put an end to free software that could substitute for commercial software". The boycott was lifted in 1995, which meant the FSF started to accept patches to GNU software for Apple operating systems. Stallman has characterized Steve Jobs as having a "malign influence" on computing because of Jobs' leadership in guiding Apple to produce closed platforms. In 1993, while Jobs was at NeXT, Jobs asked Stallman if he could distribute a modified GCC in two parts, one part under GPL and the other part, an Objective-C preprocessor under a proprietary license. Stallman initially thought this would be legal, but since he also thought it would be "very undesirable for free software", he asked a lawyer for advice. The response he got was that judges would consider such schemes to be "subterfuges" and would be very harsh toward them, and a judge would ask whether it was "really" one program, rather than how the parts were labeled. Therefore, Stallman sent a message back to Jobs which said they believed Jobs' plan was not allowed by the GPL, which resulted in NeXT releasing the Objective-C front end under GPL. For a period of time, Stallman used a notebook from the One Laptop per Child program. Stallman's computer is a refurbished ThinkPad T400s with Libreboot, a free BIOS replacement, and the GNU/Linux distribution Trisquel. Before the ThinkPad T400s, Stallman used a Thinkpad X60 with Libreboot and Trisquel GNU/Linux. And before the X60, Stallman used the Lemote Yeeloong netbook (using the same company's Loongson processor) which he chose because, like the X60 and the T400s, it could run with free software at the BIOS level, stating "freedom is my priority. I've campaigned for freedom since 1983, and I am not going to surrender that freedom for the sake of a more convenient computer." Stallman's Lemote was stolen from him in 2012 while in Argentina. Before Trisquel, Stallman has used the gNewSense operating system. Copyright reduction Stallman has regularly given a talk entitled "Copyright vs. Community" where he reviews the state of digital rights management (DRM) and names many of the products and corporations which he boycotts. His approach to DRM is best summed up by the FSF Defective by Design campaign. In the talks, he makes proposals for a "reduced copyright" and suggests a 10-year limit on copyright. He suggests that, instead of restrictions on sharing, authors be supported using a tax, with revenues distributed among them based on cubic roots of their popularity to ensure that "fairly successful non-stars" receive a greater share than they do now (compare with private copying levy which is associated with proponents of strong copyright), or a convenient anonymous micropayment system for people to support authors directly. He indicates that no form of non-commercial sharing of copies should be considered a copyright violation. He has advocated civil disobedience in a comment on Ley Sinde. Stallman has also helped and supported the International Music Score Library Project in getting back online, after it had been taken down on October 19, 2007, following a cease and desist letter from Universal Edition. Stallman mentions the dangers some e-books bring compared to paper books, with the example of the Amazon Kindle e-reader that prevents the copying of e-books and allows Amazon to order automatic deletion of a book. He says that such e-books present a big step backward with respect to paper books by being less easy to use, copy, lend to others or sell, also mentioning that Amazon e-books cannot be bought anonymously. His short story "The Right to Read" provides a picture of a dystopian future if the right to share books is impeded. He objects to many of the terms within typical end-user license agreements that accompany e-books. Stallman discourages the use of several storage technologies such as DVD or Blu-ray video discs because the content of such media is encrypted. He considers manufacturers' use of encryption on non-secret data (to force the user to view certain promotional material) as a conspiracy. He recognized the Sony BMG copy protection rootkit scandal to be a criminal act by Sony. Stallman supports a general boycott of Sony for its legal actions against George Hotz. Stallman has suggested that the United States government may encourage the use of software as a service because this would allow them to access users' data without needing a search warrant. He denies being an anarchist despite his wariness of some legislation and the fact that he has "advocated strongly for user privacy and his own view of software freedom". Terminologies Stallman places great importance on the words and labels people use to talk about the world, including the relationship between software and freedom. He asks people to say free software and GNU/Linux, and to avoid the terms intellectual property and piracy (in relation to copying not approved by the publisher). One of his criteria for giving an interview to a journalist is that the journalist agrees to use his terminology throughout the article. He has been known to turn down speaking requests over some terminology issues. Stallman argues that the term intellectual property is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark, and other areas of law by lumping together things that are more dissimilar than similar. He also argues that by referring to these laws as property laws, the term biases the discussion when thinking about how to treat these issues, writing: An example of cautioning others to avoid other terminology while also offering suggestions for possible alternatives is this sentence of an e-mail by Stallman to a public mailing list: Open source and Free software His requests that people use certain terms, and his ongoing efforts to convince people of the importance of terminology, are a source of regular misunderstanding and friction with parts of the free software and open-source communities. After initially accepting the concept, Stallman rejects a common alternative term, open-source software, because it does not call to mind what Stallman sees as the value of the software: freedom. He wrote, "Free software is a political movement; open source is a development model." Thus, he believes that the use of the term will not inform people of the freedom issues, and will not lead to people valuing and defending their freedom. Two alternatives which Stallman does accept are software libre and unfettered software, but free software is the term he asks people to use in English. For similar reasons, he argues for the term proprietary software or non-free software rather than closed-source software, when referring to software that is not free software. Linux and GNU Stallman asks that the term GNU/Linux, which he pronounces , be used to refer to the operating system created by combining the GNU system and the kernel Linux. Stallman refers to this operating system as "a variant of GNU, and the GNU Project is its principal developer". He claims that the connection between the GNU project's philosophy and its software is broken when people refer to the combination as merely Linux. Starting around 2003, he began also using the term GNU+Linux, which he pronounces , to prevent others from pronouncing the phrase GNU/Linux as , which would erroneously imply that the kernel Linux is maintained by the GNU project. The creator of Linux, Linus Torvalds, has publicly stated that he objects to modification of the name, and that the rename "is their [the FSF] confusion not ours". Surveillance resistance Stallman professes admiration for Julian Assange and Edward Snowden. He has spoken against government and corporate surveillance on many occasions. He refers to mobile phones as "portable surveillance and tracking devices", refusing to own a cell phone due to the lack of phones running entirely on free software. He also avoids using a key card to enter his office building since key card systems track each location and time that someone enters the building using a card. He usually does not browse the web directly from his personal computer. Instead, he uses GNU Womb's grab-url-from-mail utility, an email-based proxy which downloads the web page content and then emails it to the user. More recently, he stated that he accesses all web sites via Tor, except for Wikipedia (which generally disallows editing from Tor unless users have an IP block exemption). Personal life Stallman resides in Cambridge, Massachusetts. He speaks English, French, Spanish and some Indonesian. He has said that he is "an atheist of Jewish ancestry" and often wears a button that reads "Impeach God". Stallman has written a collection of filk music and parody songs. He is childfree and antinatalist. He denies having Asperger's, but has sometimes speculated whether he could have a "shadow" version of it. Resignation from MIT and FSF In August and September 2019, it was learned that Jeffrey Epstein had made donations to MIT, and in the wake of this, MIT Media Lab director Joi Ito resigned. An internal MIT CSAIL listserv mailing list thread was started to protest the coverup of MIT's connections to Epstein. In the thread, discussion had turned to deceased MIT professor Marvin Minsky, who was named by Virginia Giuffre as one of the people that Epstein had directed her to have sex with. Giuffre, a minor at the time, had been caught in Epstein's underage sex trafficking ring. In response to a comment where one reply stated that Minsky "is accused of assaulting one of Epstein's victims", Stallman questioned whether the word "assault" was applicable in that case, arguing that "the most plausible scenario is that she presented herself to him as entirely willing. Assuming she was being coerced by Epstein, he would have had every reason to conceal that from most of his associates". When challenged by other members of the mailing list, he added "It is morally absurd to define 'rape' in a way that depends on minor details such as which country it was in or whether the victim was 18 years old or 17". Stallman remained critical of Epstein and his role, stating "We know that Giuffre was being coerced into sex – by Epstein. She was being harmed." Stallman's comments along with a compilation of accusations against him were published to the public via Medium by Selam Gano, who outlined MIT alumnae claims of sexual harassment and contributions to a hostile environment by Stallman. Vice published a copy of the email chain on September 13, 2019, drawing attention to Stallman's comments. Stallman's writings from 2013 and earlier related to underage sex and child pornography laws resurfaced, increasing the controversy. Tied to his comments regarding Minsky, this led to several calling for Stallman's resignation. On September 14, Stallman acknowledged that since the time of his past writings, he had learned that there were problems with underage sex, writing on his blog: "Through personal conversations in recent years, I've learned to understand how sex with a child can harm per psychologically. This changed my mind about the matter: I think adults should not do that." On September 16, Stallman announced his resignation from both MIT and FSF, "due to pressure on MIT and me over a series of misunderstandings and mischaracterizations". In a post on his website, Stallman asserted that his posts to the email lists were not to defend Epstein, stating "Nothing could be further from the truth. I've called him a 'serial rapist,' and said he deserved to be imprisoned. But many people now believe I defended him—and other inaccurate claims—and feel a real hurt because of what they believe I said. I'm sorry for that hurt. I wish I could have prevented the misunderstanding." Return to FSF In March 2021, at LibrePlanet2021, Stallman announced his return to the FSF board of directors. Shortly thereafter, an open letter was published on GitHub asking for Stallman's removal, along with the entire FSF board of directors, with the support of prominent open-source organizations including GNOME and Mozilla. The letter includes a list of accusations against Stallman. In response, an open letter asking for the FSF to retain Stallman was also published, arguing that Stallman's statements were mischaracterized, misunderstood and that they need to be interpreted in context. The FSF board in April 12 made a statement re-affirming its decision to bring back Richard Stallman. Following this, Stallman issued a statement explaining his poor social skills and apologizing. Multiple organizations criticized, defunded and/or cut ties with the FSF, including: Red Hat, the Free Software Foundation Europe, the Software Freedom Conservacy, SUSE, the OSI, the Document Foundation, the EFF, KDE, and the Tor Project. Debian declined to issue a statement after a community voting on the issue. However, this had relatively little impact on the FSF, as it has stated that direct financial support from corporations accounted for less than 3% of its revenue in the most recent fiscal year. Honors and awards 1986: Honorary lifetime membership of the Chalmers University of Technology Computer Society 1990: Exceptional merit award MacArthur Fellowship ("genius grant") 1990: The Association for Computing Machinery's Grace Murray Hopper Award "For pioneering work in the development of the extensible editor EMACS (Editing Macros)" 1996: Honorary doctorate from Sweden's Royal Institute of Technology 1998: Electronic Frontier Foundation's Pioneer Award 1999: Yuri Rubinsky Memorial Award 2001: The Takeda Techno-Entrepreneurship Award for Social/Economic Well-Being () 2001: Honorary doctorate, from the University of Glasgow 2002: US National Academy of Engineering membership "for starting the GNU project, which produced influential, non-proprietary software tools, and for founding the free software movement" 2003: Honorary doctorate, from the Vrije Universiteit Brussel 2004: Honorary doctorate, from the Universidad Nacional de Salta 2004: Honorary professorship, from the Universidad Nacional de Ingeniería del Perú 2007: Honorary professorship, from the Universidad Inca Garcilaso de la Vega 2007: First Premio Internacional Extremadura al Conocimiento Libre 2007: Honorary doctorate, from the Universidad de Los Angeles de Chimbote 2007: Honorary doctorate, from the University of Pavia 2008: Honorary doctorate from the Universidad Nacional de Trujillo, in Peru 2009: Honorary doctorate, from Lakehead University 2011: Honorary doctorate, from National University of Córdoba 2012: Honorary professorship, from the Universidad César Vallejo de Trujillo, in Peru 2012: Honorary doctorate, from the Universidad Latinoamericana Cima de Tacna, in Peru 2012: Honorary doctorate, from the Universidad José Faustino Sánchez Carrión, in Peru 2014: Honorary doctorate, from Concordia University, in Montréal 2015: ACM Software System Award "For the development and leadership of GCC" 2016: Honorary doctorate, from Pierre and Marie Curie University 2016: Social Medicine award, from GNU Solidario Selected publications Manuals Selected essays See also 9882 Stallman Free as in Freedom, a biography by Sam Williams Free Software Street History of free and open-source software Lisp Machine Lisp Revolution OS vrms Free Software Foundation References External links In Support of Richard Stallman, a website which advocates for Stallman. Essays on the Philosophy of the GNU Project, almost all written by Stallman 1953 births Activists from New York City Jewish American atheists American bloggers American computer programmers Anti-natalists Articles containing video clips Artificial intelligence researchers Copyright activists Education activists Emacs Filkers Free software people Free software programmers GNU people Grace Murray Hopper Award laureates Harvard School of Engineering and Applied Sciences alumni Internet activists Jewish American scientists Linux people Lisp (programming language) people Living people MacArthur Fellows Massachusetts Institute of Technology School of Science alumni Members of the Free Software Foundation board of directors Members of the United States National Academy of Engineering Privacy activists Programming language designers	false	[ "Richard Matthew Stallman (; born March 16, 1953), also known by his initials, rms, is an American free software movement activist and programmer. He campaigns for software to be distributed in such a manner, so that its users receive the freedoms to use, study, distribute, and modify that software. Software that ensures these freedoms is termed free software. Stallman launched the GNU Project, founded the Free Software Foundation, developed the GNU Compiler Collection and GNU Emacs, and wrote the GNU General Public License.\n\nStallman launched the GNU Project in September 1983 to write a Unix-like computer operating system composed entirely of free software. With this, he also launched the free software movement. He has been the GNU project's lead architect and organizer, and developed a number of pieces of widely used GNU software including, among others, the GNU Compiler Collection, GNU Debugger, and GNU Emacs text editor. In October 1985 he founded the Free Software Foundation (FSF).\n\nStallman pioneered the concept of copyleft, which uses the principles of copyright law to preserve the right to use, modify, and distribute free software. He is the main author of free software licenses which describe those terms, most notably the GNU General Public License (GPL), the most widely used free software license.\n\nIn 1989, he co-founded the League for Programming Freedom. Since the mid-1990s, Stallman has spent most of his time advocating for free software, as well as campaigning against software patents, digital rights management (which he refers to as digital restrictions management, calling the more common term misleading), and other legal and technical systems which he sees as taking away users' freedoms. This has included software license agreements, non-disclosure agreements, activation keys, dongles, copy restriction, proprietary formats, and binary executables without source code.\n\nIn September 2019, Stallman resigned as president of the FSF and left his \"visiting scientist\" role at MIT after making controversial comments about the Jeffrey Epstein sex trafficking scandal. Stallman remained head of the GNU Project, and in 2021 returned to the FSF board of directors.\n\nEarly life \nStallman was born March 16, 1953, in New York City, to a family of Jewish heritage. He had a troublesome relationship with his parents and did not feel he had a proper home. He was interested in computers at a young age; when Stallman was a pre-teen at a summer camp, he read manuals for the IBM 7094. From 1967 to 1969, Stallman attended a Columbia University Saturday program for high school students. Stallman was also a volunteer laboratory assistant in the biology department at Rockefeller University. Although he was interested in mathematics and physics, his supervising professor at Rockefeller thought he showed promise as a biologist.\n\nHis first experience with actual computers was at the IBM New York Scientific Center when he was in high school. He was hired for the summer in 1970, following his senior year of high school, to write a numerical analysis program in Fortran. He completed the task after a couple of weeks (\"I swore that I would never use FORTRAN again because I despised it as a language compared with other languages\") and spent the rest of the summer writing a text editor in APL and a preprocessor for the PL/I programming language on the IBM System/360.\n\nHarvard University and MIT \nAs a first-year student at Harvard University in fall 1970, Stallman was known for his strong performance in Math 55. He was happy: \"For the first time in my life, I felt I had found a home at Harvard.\"\n\nIn 1971, near the end of his first year at Harvard, he became a programmer at the MIT Artificial Intelligence Laboratory, and became a regular in the hacker community, where he was usually known by his initials, RMS, which he used in his computer accounts. Stallman received a bachelor's degree in physics (magna cum laude) from Harvard in 1974.\n\nStallman considered staying on at Harvard, but instead decided to enroll as a graduate student at the Massachusetts Institute of Technology (MIT). He pursued a doctorate in physics for one year, but left that program to focus on his programming at the MIT AI Laboratory.\n\nWhile working (starting in 1975) as a research assistant at MIT under Gerry Sussman, Stallman published a paper (with Sussman) in 1977 on an AI truth maintenance system, called dependency-directed backtracking. This paper was an early work on the problem of intelligent backtracking in constraint satisfaction problems. , the technique Stallman and Sussman introduced is still the most general and powerful form of intelligent backtracking. The technique of constraint recording, wherein partial results of a search are recorded for later reuse, was also introduced in this paper.\n\nAs a hacker in MIT's AI laboratory, Stallman worked on software projects such as TECO and Emacs for the Incompatible Timesharing System (ITS), as well as the Lisp machine operating system (the CONS of 1974–1976 and the CADR of 1977–1979—this latter unit was commercialized by Symbolics and Lisp Machines, Inc. (LMI) starting around 1980). He would become an ardent critic of restricted computer access in the lab, which at that time was funded primarily by the Defense Advanced Research Projects Agency (DARPA). When MIT's Laboratory for Computer Science (LCS) installed a password control system in 1977, Stallman found a way to decrypt the passwords and sent users messages containing their decoded password, with a suggestion to change it to the empty string (that is, no password) instead, to re-enable anonymous access to the systems. Around 20 percent of the users followed his advice at the time, although passwords ultimately prevailed. Stallman boasted of the success of his campaign for many years afterward.\n\nEvents leading to GNU \nIn the late 1970s and early 1980s, the hacker culture that Stallman thrived on began to fragment. To prevent software from being used on their competitors' computers, most manufacturers stopped distributing source code and began using copyright and restrictive software licenses to limit or prohibit copying and redistribution. Such proprietary software had existed before, and it became apparent that it would become the norm. This shift in the legal characteristics of software was a consequence triggered by the US Copyright Act of 1976.\n\nWhen Brian Reid in 1979 placed time bombs in the Scribe markup language and word processing system to restrict unlicensed access to the software, Stallman proclaimed it \"a crime against humanity\". During an interview in 2008, he clarified that it is blocking the user's freedom that he believes is a crime, not the issue of charging for software. Stallman's texinfo is a GPL replacement, loosely based on Scribe; the original version was finished in 1986.\n\nIn 1980, Stallman and some other hackers at the AI Lab were refused access to the source code for the software of a newly installed laser printer, the Xerox 9700. Stallman had modified the software for the Lab's previous laser printer (the XGP, Xerographic Printer), so it electronically messaged a user when the person's job was printed, and would message all logged-in users waiting for print jobs if the printer was jammed. Not being able to add these features to the new printer was a major inconvenience, as the printer was on a different floor from most of the users. This experience convinced Stallman of people's need to be able to freely modify the software they use.\n\nRichard Greenblatt, a fellow AI Lab hacker, founded Lisp Machines, Inc. (LMI) to market Lisp machines, which he and Tom Knight designed at the lab. Greenblatt rejected outside investment, believing that the proceeds from the construction and sale of a few machines could be profitably reinvested in the growth of the company. In contrast, the other hackers felt that the venture capital-funded approach was better. As no agreement could be reached, hackers from the latter camp founded Symbolics, with the aid of Russ Noftsker, an AI Lab administrator. Symbolics recruited most of the remaining hackers including notable hacker Bill Gosper, who then left the AI Lab. Symbolics also forced Greenblatt to resign by citing MIT policies. While both companies delivered proprietary software, Stallman believed that LMI, unlike Symbolics, had tried to avoid hurting the lab's community. For two years, from 1982 to the end of 1983, Stallman worked by himself to clone the output of the Symbolics programmers, with the aim of preventing them from gaining a monopoly on the lab's computers.\n\nStallman argues that software users should have the freedom to share with their neighbors and be able to study and make changes to the software that they use. He maintains that attempts by proprietary software vendors to prohibit these acts are antisocial and unethical. The phrase \"software wants to be free\" is often incorrectly attributed to him, and Stallman argues that this is a misstatement of his philosophy. He argues that freedom is vital for the sake of users and society as a moral value, and not merely for pragmatic reasons such as possibly developing technically superior software. Eric S. Raymond, one of the creators of the open-source movement, argues that moral arguments, rather than pragmatic ones, alienate potential allies and hurt the end goal of removing code secrecy.\n\nIn February 1984, Stallman quit his job at MIT to work full-time on the GNU project, which he had announced in September 1983. Since then, he had remained affiliated with MIT as an unpaid \"visiting scientist\" in the Computer Science and Artificial Intelligence Laboratory. Until \"around 1998\", he maintained an office at the Institute that doubled as his legal residence.\n\nGNU project \n\nStallman announced the plan for the GNU operating system in September 1983 on several ARPANET mailing lists and USENET. He started the project on his own and describes: \"As an operating system developer, I had the right skills for this job. So even though I could not take success for granted, I realized that I was elected to do the job. I chose to make the system compatible with Unix so that it would be portable, and so that Unix users could easily switch to it.\"\n\nIn 1985, Stallman published the GNU Manifesto, which outlined his motivation for creating a free operating system called GNU, which would be compatible with Unix. The name GNU is a recursive acronym for \"GNU's Not Unix\". Soon after, he started a nonprofit corporation called the Free Software Foundation to employ free software programmers and provide a legal infrastructure for the free software movement. Stallman was the nonsalaried president of the FSF, which is a 501(c)(3) nonprofit organization founded in Massachusetts.\n\nStallman popularized the concept of copyleft, a legal mechanism to protect the modification and redistribution rights for free software. It was first implemented in the GNU Emacs General Public License, and in 1989 the first program-independent GNU General Public License (GPL) was released. By then, much of the GNU system had been completed.\n\nStallman was responsible for contributing many necessary tools, including a text editor (Emacs), compiler (GCC), debugger (GNU Debugger), and a build automator (GNU make). The notable omission was a kernel. In 1990, members of the GNU project began using Carnegie Mellon's Mach microkernel in a project called GNU Hurd, which has yet to achieve the maturity level required for full POSIX compliance.\n\nIn 1991, Linus Torvalds, a Finnish student, used the GNU's development tools to produce the free monolithic Linux kernel. The existing programs from the GNU project were readily ported to run on the resultant platform. Most sources use the name Linux to refer to the general-purpose operating system thus formed, while Stallman and the FSF call it GNU/Linux. This has been a longstanding naming controversy in the free software community. Stallman argues that not using GNU in the name of the operating system unfairly disparages the value of the GNU project and harms the sustainability of the free software movement by breaking the link between the software and the free software philosophy of the GNU project.\n\nStallman's influences on hacker culture include the name POSIX and the Emacs editor. On Unix systems, GNU Emacs's popularity rivaled that of another editor vi, spawning an editor war. Stallman's take on this was to canonize himself as St. IGNUcius of the Church of Emacs and acknowledge that \"vi vi vi is the editor of the beast\", while \"using a free version of vi is not a sin; it is a penance\". On his homepage Stallman explains what a life in the Church of Emacs means to its members: \"Sainthood in the Church of Emacs requires living a life of purity—but in the Church of Emacs, this does not require celibacy (a sigh of relief is heard)\".\n\nIn 1992, developers at Lucid Inc. doing their own work on Emacs clashed with Stallman and ultimately forked the software into what would become XEmacs. The technology journalist Andrew Leonard has characterized what he sees as Stallman's uncompromising stubbornness as common among elite computer programmers:\n\nIn 2018, Stallman instituted \"Kind Communication Guidelines\" for the GNU project to help its mailing list discussions remain constructive while avoiding explicitly promoting diversity.\n\nIn October 2019, a public statement signed by 33 maintainers of the GNU project asserted that Stallman's behaviour had \"undermined a core value of the GNU project: the empowerment of all computer users\" and called for \"GNU maintainers to collectively decide about the organization of the project\". The statement was published soon after Stallman resigned as president of the FSF and left his \"visiting scientist\" role at MIT in September 2019. In spite of that, Stallman remained head of the GNU project.\n\nActivism \nStallman has written many essays on software freedom, and has been an outspoken political campaigner for the free software movement since the early 1990s. The speeches he has regularly given are titled The GNU Project and the Free Software Movement, The Dangers of Software Patents, and Copyright and Community in the Age of Computer Networks. In 2006 and 2007, during the eighteen month public consultation for the drafting of version 3 of the GNU General Public License, he added a fourth topic explaining the proposed changes.\n\nStallman's staunch advocacy for free software inspired the creation of the Virtual Richard M. Stallman (vrms), software that analyzes the packages currently installed on a Debian GNU/Linux system, and reports those that are from the non-free tree. Stallman disagrees with parts of Debian's definition of free software.\n\nIn 1999, Stallman called for development of a free online encyclopedia through the means of inviting the public to contribute articles. The resulting GNUPedia was eventually retired in favour of the emerging Wikipedia, which had similar aims and was enjoying greater success.\n\nStallman is a world traveler and has visited at least 65 countries, mostly to speak about free software and the GNU project. According to Stallman, the free software movement has much in common with that of Mahatma Gandhi. Stallman is also highly critical of the effect that drug patents have had on developing countries.\n\nIn Venezuela, Stallman has delivered public speeches and promoted the adoption of free software in the state's oil company (PDVSA), in municipal government, and in the nation's military. In meetings with Hugo Chávez and in public speeches, Stallman criticised some policies on television broadcasting, free speech rights, and privacy. Stallman was on the Advisory Council of Latin American television station teleSUR from its launch but resigned in February 2011, criticizing pro-Gaddafi propaganda during the Arab Spring.\n\nIn August 2006, at his meetings with the government of the Indian State of Kerala, he persuaded officials to discard proprietary software, such as Microsoft's, at state-run schools. This has resulted in a landmark decision to switch all school computers in 12,500 high schools from Windows to a free software operating system.\n\nAfter personal meetings, Stallman obtained positive statements about the free software movement from the then-president of India, , French 2007 presidential candidate Ségolène Royal, and the president of Ecuador Rafael Correa.\n\nStallman has participated in protests about software patents, digital rights management, and proprietary software.\n\nProtesting against proprietary software in April 2006, Stallman held a \"Don't buy from ATI, enemy of your freedom\" placard at a speech by an ATI representative in the building where Stallman worked, resulting in the police being called. AMD has since acquired ATI and has taken steps to make their hardware documentation available for use by the free software community.\n\nIn response to Apple's Macintosh look and feel lawsuits against Microsoft and Hewlett-Packard in 1988, Stallman called for a boycott of Apple products on the grounds that a successful look and feel lawsuit would \"put an end to free software that could substitute for commercial software\". The boycott was lifted in 1995, which meant the FSF started to accept patches to GNU software for Apple operating systems.\n\nStallman has characterized Steve Jobs as having a \"malign influence\" on computing because of Jobs' leadership in guiding Apple to produce closed platforms. In 1993, while Jobs was at NeXT, Jobs asked Stallman if he could distribute a modified GCC in two parts, one part under GPL and the other part, an Objective-C preprocessor under a proprietary license. Stallman initially thought this would be legal, but since he also thought it would be \"very undesirable for free software\", he asked a lawyer for advice. The response he got was that judges would consider such schemes to be \"subterfuges\" and would be very harsh toward them, and a judge would ask whether it was \"really\" one program, rather than how the parts were labeled. Therefore, Stallman sent a message back to Jobs which said they believed Jobs' plan was not allowed by the GPL, which resulted in NeXT releasing the Objective-C front end under GPL.\n\nFor a period of time, Stallman used a notebook from the One Laptop per Child program. Stallman's computer is a refurbished ThinkPad T400s with Libreboot, a free BIOS replacement, and the GNU/Linux distribution Trisquel. Before the ThinkPad T400s, Stallman used a Thinkpad X60 with Libreboot and Trisquel GNU/Linux. And before the X60, Stallman used the Lemote Yeeloong netbook (using the same company's Loongson processor) which he chose because, like the X60 and the T400s, it could run with free software at the BIOS level, stating \"freedom is my priority. I've campaigned for freedom since 1983, and I am not going to surrender that freedom for the sake of a more convenient computer.\" Stallman's Lemote was stolen from him in 2012 while in Argentina. Before Trisquel, Stallman has used the gNewSense operating system.\n\nCopyright reduction \nStallman has regularly given a talk entitled \"Copyright vs. Community\" where he reviews the state of digital rights management (DRM) and names many of the products and corporations which he boycotts. His approach to DRM is best summed up by the FSF Defective by Design campaign. In the talks, he makes proposals for a \"reduced copyright\" and suggests a 10-year limit on copyright. He suggests that, instead of restrictions on sharing, authors be supported using a tax, with revenues distributed among them based on cubic roots of their popularity to ensure that \"fairly successful non-stars\" receive a greater share than they do now (compare with private copying levy which is associated with proponents of strong copyright), or a convenient anonymous micropayment system for people to support authors directly. He indicates that no form of non-commercial sharing of copies should be considered a copyright violation. He has advocated civil disobedience in a comment on Ley Sinde.\n\nStallman has also helped and supported the International Music Score Library Project in getting back online, after it had been taken down on October 19, 2007, following a cease and desist letter from Universal Edition.\n\nStallman mentions the dangers some e-books bring compared to paper books, with the example of the Amazon Kindle e-reader that prevents the copying of e-books and allows Amazon to order automatic deletion of a book. He says that such e-books present a big step backward with respect to paper books by being less easy to use, copy, lend to others or sell, also mentioning that Amazon e-books cannot be bought anonymously. His short story \"The Right to Read\" provides a picture of a dystopian future if the right to share books is impeded. He objects to many of the terms within typical end-user license agreements that accompany e-books.\n\nStallman discourages the use of several storage technologies such as DVD or Blu-ray video discs because the content of such media is encrypted. He considers manufacturers' use of encryption on non-secret data (to force the user to view certain promotional material) as a conspiracy.\n\nHe recognized the Sony BMG copy protection rootkit scandal to be a criminal act by Sony. Stallman supports a general boycott of Sony for its legal actions against George Hotz.\n\nStallman has suggested that the United States government may encourage the use of software as a service because this would allow them to access users' data without needing a search warrant.\n\nHe denies being an anarchist despite his wariness of some legislation and the fact that he has \"advocated strongly for user privacy and his own view of software freedom\".\n\nTerminologies \n\nStallman places great importance on the words and labels people use to talk about the world, including the relationship between software and freedom. He asks people to say free software and GNU/Linux, and to avoid the terms intellectual property and piracy (in relation to copying not approved by the publisher). One of his criteria for giving an interview to a journalist is that the journalist agrees to use his terminology throughout the article. He has been known to turn down speaking requests over some terminology issues.\n\nStallman argues that the term intellectual property is designed to confuse people, and is used to prevent intelligent discussion on the specifics of copyright, patent, trademark, and other areas of law by lumping together things that are more dissimilar than similar. He also argues that by referring to these laws as property laws, the term biases the discussion when thinking about how to treat these issues, writing:\n\nAn example of cautioning others to avoid other terminology while also offering suggestions for possible alternatives is this sentence of an e-mail by Stallman to a public mailing list:\n\nOpen source and Free software \nHis requests that people use certain terms, and his ongoing efforts to convince people of the importance of terminology, are a source of regular misunderstanding and friction with parts of the free software and open-source communities. After initially accepting the concept, Stallman rejects a common alternative term, open-source software, because it does not call to mind what Stallman sees as the value of the software: freedom. He wrote, \"Free software is a political movement; open source is a development model.\" Thus, he believes that the use of the term will not inform people of the freedom issues, and will not lead to people valuing and defending their freedom. Two alternatives which Stallman does accept are software libre and unfettered software, but free software is the term he asks people to use in English. For similar reasons, he argues for the term proprietary software or non-free software rather than closed-source software, when referring to software that is not free software.\n\nLinux and GNU \n\nStallman asks that the term GNU/Linux, which he pronounces , be used to refer to the operating system created by combining the GNU system and the kernel Linux. Stallman refers to this operating system as \"a variant of GNU, and the GNU Project is its principal developer\". He claims that the connection between the GNU project's philosophy and its software is broken when people refer to the combination as merely Linux. Starting around 2003, he began also using the term GNU+Linux, which he pronounces , to prevent others from pronouncing the phrase GNU/Linux as , which would erroneously imply that the kernel Linux is maintained by the GNU project. The creator of Linux, Linus Torvalds, has publicly stated that he objects to modification of the name, and that the rename \"is their [the FSF] confusion not ours\".\n\nSurveillance resistance \nStallman professes admiration for Julian Assange and Edward Snowden. He has spoken against government and corporate surveillance on many occasions.\n\nHe refers to mobile phones as \"portable surveillance and tracking devices\", refusing to own a cell phone due to the lack of phones running entirely on free software. He also avoids using a key card to enter his office building since key card systems track each location and time that someone enters the building using a card. He usually does not browse the web directly from his personal computer. Instead, he uses GNU Womb's grab-url-from-mail utility, an email-based proxy which downloads the web page content and then emails it to the user. More recently, he stated that he accesses all web sites via Tor, except for Wikipedia (which generally disallows editing from Tor unless users have an IP block exemption).\n\nPersonal life \nStallman resides in Cambridge, Massachusetts. He speaks English, French, Spanish and some Indonesian. He has said that he is \"an atheist of Jewish ancestry\" and often wears a button that reads \"Impeach God\".\n\nStallman has written a collection of filk music and parody songs.\n\nHe is childfree and antinatalist.\n\nHe denies having Asperger's, but has sometimes speculated whether he could have a \"shadow\" version of it.\n\nResignation from MIT and FSF \nIn August and September 2019, it was learned that Jeffrey Epstein had made donations to MIT, and in the wake of this, MIT Media Lab director Joi Ito resigned. An internal MIT CSAIL listserv mailing list thread was started to protest the coverup of MIT's connections to Epstein. In the thread, discussion had turned to deceased MIT professor Marvin Minsky, who was named by Virginia Giuffre as one of the people that Epstein had directed her to have sex with. Giuffre, a minor at the time, had been caught in Epstein's underage sex trafficking ring. In response to a comment where one reply stated that Minsky \"is accused of assaulting one of Epstein's victims\", Stallman questioned whether the word \"assault\" was applicable in that case, arguing that \"the most plausible scenario is that she presented herself to him as entirely willing. Assuming she was being coerced by Epstein, he would have had every reason to conceal that from most of his associates\". When challenged by other members of the mailing list, he added \"It is morally absurd to define 'rape' in a way that depends on minor details such as which country it was in or whether the victim was 18 years old or 17\". Stallman remained critical of Epstein and his role, stating \"We know that Giuffre was being coerced into sex – by Epstein. She was being harmed.\"\n\nStallman's comments along with a compilation of accusations against him were published to the public via Medium by Selam Gano, who outlined MIT alumnae claims of sexual harassment and contributions to a hostile environment by Stallman. Vice published a copy of the email chain on September 13, 2019, drawing attention to Stallman's comments. Stallman's writings from 2013 and earlier related to underage sex and child pornography laws resurfaced, increasing the controversy. Tied to his comments regarding Minsky, this led to several calling for Stallman's resignation. On September 14, Stallman acknowledged that since the time of his past writings, he had learned that there were problems with underage sex, writing on his blog: \"Through personal conversations in recent years, I've learned to understand how sex with a child can harm per psychologically. This changed my mind about the matter: I think adults should not do that.\"\n\nOn September 16, Stallman announced his resignation from both MIT and FSF, \"due to pressure on MIT and me over a series of misunderstandings and mischaracterizations\". In a post on his website, Stallman asserted that his posts to the email lists were not to defend Epstein, stating \"Nothing could be further from the truth. I've called him a 'serial rapist,' and said he deserved to be imprisoned. But many people now believe I defended him—and other inaccurate claims—and feel a real hurt because of what they believe I said. I'm sorry for that hurt. I wish I could have prevented the misunderstanding.\"\n\nReturn to FSF\nIn March 2021, at LibrePlanet2021, Stallman announced his return to the FSF board of directors. Shortly thereafter, an open letter was published on GitHub asking for Stallman's removal, along with the entire FSF board of directors, with the support of prominent open-source organizations including GNOME and Mozilla. The letter includes a list of accusations against Stallman. In response, an open letter asking for the FSF to retain Stallman was also published, arguing that Stallman's statements were mischaracterized, misunderstood and that they need to be interpreted in context. The FSF board in April 12 made a statement re-affirming its decision to bring back Richard Stallman. Following this, Stallman issued a statement explaining his poor social skills and apologizing.\n\nMultiple organizations criticized, defunded and/or cut ties with the FSF, including: Red Hat, the Free Software Foundation Europe, the Software Freedom Conservacy, SUSE, the OSI, the Document Foundation, the EFF, KDE, and the Tor Project. Debian declined to issue a statement after a community voting on the issue. However, this had relatively little impact on the FSF, as it has stated that direct financial support from corporations accounted for less than 3% of its revenue in the most recent fiscal year.\n\nHonors and awards \n 1986: Honorary lifetime membership of the Chalmers University of Technology Computer Society\n 1990: Exceptional merit award MacArthur Fellowship (\"genius grant\")\n 1990: The Association for Computing Machinery's Grace Murray Hopper Award \"For pioneering work in the development of the extensible editor EMACS (Editing Macros)\"\n 1996: Honorary doctorate from Sweden's Royal Institute of Technology\n 1998: Electronic Frontier Foundation's Pioneer Award\n 1999: Yuri Rubinsky Memorial Award\n 2001: The Takeda Techno-Entrepreneurship Award for Social/Economic Well-Being ()\n 2001: Honorary doctorate, from the University of Glasgow\n 2002: US National Academy of Engineering membership \"for starting the GNU project, which produced influential, non-proprietary software tools, and for founding the free software movement\"\n 2003: Honorary doctorate, from the Vrije Universiteit Brussel\n 2004: Honorary doctorate, from the Universidad Nacional de Salta\n 2004: Honorary professorship, from the Universidad Nacional de Ingeniería del Perú\n 2007: Honorary professorship, from the Universidad Inca Garcilaso de la Vega\n 2007: First Premio Internacional Extremadura al Conocimiento Libre\n 2007: Honorary doctorate, from the Universidad de Los Angeles de Chimbote\n 2007: Honorary doctorate, from the University of Pavia\n 2008: Honorary doctorate from the Universidad Nacional de Trujillo, in Peru \n 2009: Honorary doctorate, from Lakehead University\n 2011: Honorary doctorate, from National University of Córdoba\n 2012: Honorary professorship, from the Universidad César Vallejo de Trujillo, in Peru\n 2012: Honorary doctorate, from the Universidad Latinoamericana Cima de Tacna, in Peru\n 2012: Honorary doctorate, from the Universidad José Faustino Sánchez Carrión, in Peru\n 2014: Honorary doctorate, from Concordia University, in Montréal\n 2015: ACM Software System Award \"For the development and leadership of GCC\"\n 2016: Honorary doctorate, from Pierre and Marie Curie University\n 2016: Social Medicine award, from GNU Solidario\n\nSelected publications \n Manuals\n \n \n \n\n Selected essays\n\nSee also \n\n 9882 Stallman\n Free as in Freedom, a biography by Sam Williams\n Free Software Street\n History of free and open-source software\n Lisp Machine Lisp\n Revolution OS\n vrms\n Free Software Foundation\n\nReferences\n\nExternal links \n\n \n In Support of Richard Stallman, a website which advocates for Stallman.\n \n \n \n \n Essays on the Philosophy of the GNU Project, almost all written by Stallman\n\n1953 births\nActivists from New York City\nJewish American atheists\nAmerican bloggers\nAmerican computer programmers\nAnti-natalists\nArticles containing video clips\nArtificial intelligence researchers\nCopyright activists\nEducation activists\nEmacs\nFilkers\nFree software people\nFree software programmers\nGNU people\nGrace Murray Hopper Award laureates\nHarvard School of Engineering and Applied Sciences alumni\nInternet activists\nJewish American scientists\nLinux people\nLisp (programming language) people\nLiving people\nMacArthur Fellows\nMassachusetts Institute of Technology School of Science alumni\nMembers of the Free Software Foundation board of directors\nMembers of the United States National Academy of Engineering\nPrivacy activists\nProgramming language designers", "Lisp Machines, Inc. was a company formed in 1979 by Richard Greenblatt of MIT's Artificial Intelligence Laboratory to build Lisp machines. It was based in Cambridge, Massachusetts.\n\nBy 1979, the Lisp Machine Project at MIT, originated and headed by Greenblatt, had constructed over 30 CADR computers for various projects at MIT. Russell Noftsker, who had formerly been administrator of the MIT Artificial Intelligence lab some years previously and who had since started and run a small company, was convinced that computers based on the artificial intelligence language LISP had a bright future commercially. There were a number of ready customers who were anxious to get machines similar to ones they had seen at MIT.\n\nGreenblatt and Noftsker had differing ideas about the structure and financing of the proposed company. Greenblatt believed\nthe company could be \"bootstrapped\", i.e. financed practically from scratch from the order flow from customers (some of whom were willing to pay in advance). This would mean that the principals of the company would retain control. Noftsker favored\na more conventional venture capital model, raising a considerable sum of money, but with the investors having control of the company. The two negotiated at length, but neither would compromise. The ensuing discussions of the choice rent the lab into two factions. In February, 1979, matters came to a head. Greenblatt believed that the proceeds from the construction and sale of a few machines could be profitably reinvested in the funding of the company. Most sided with Noftsker, believing that a commercial venture fund-backed company had a better chance of surviving and commercializing Lisp Machines than Greenblatt's proposed self-sustaining start-up. They went on to start Symbolics Inc.\n\nAlexander Jacobson, a consultant from CDC, was trying to put together an AI natural language computer application, came to Greenblatt, seeking a Lisp machine for his group to work with. Eight months after Greenblatt had his disastrous conference with Noftsker, he had yet to produce anything. Alexander Jacobson decided that the only way Greenblatt was going to actually start his company and build the Lisp machines that Jacobson needed, was if he pushed and financially helped Greenblatt launch his company. Jacobson pulled together business plans, a board, and a partner, F. Stephen Wyle, for Greenblatt. The newfound company was named LISP Machine, Inc. (LMI), and was funded mostly by order flow including CDC orders, via Jacobson.\n\nHistory of LMI\nThe following parable-like story is told about LMI by Steven Levy and used for the first time in Hackers: Heroes of the Computer Revolution (1984). Levy's account of hackers is in large part based on the values of the hackers at MIT Artificial Intelligence Laboratory. Among these hackers was Richard Stallman, whom Levy at the time called the last true hacker.\n\nWhen Noftsker started Symbolics, while he was able to pay salaries, he didn't actually have a building or any equipment for the programmers to work on. He bargained with Patrick Winston that, in exchange for allowing Symbolics' staff to keep working out of MIT, Symbolics would let MIT use internally and freely all the software Symbolics developed. Unfortunately this openness would later lead to accusations of intellectual property theft.\n\nIn the early 1980s, to prevent software from being used on their competitors' computers, manufacturers stopped distributing source code and began using copyright and restrictive software licenses to limit or prohibit copying and redistribution. Such proprietary software had existed before, but this shift in the legal characteristics of software was triggered by the U.S. Copyright Act of 1976; see software copyright.\n\nWhile both companies delivered proprietary software, Richard Stallman believed that LMI, unlike Symbolics, had tried to avoid hurting the lab. Stallman had proclaimed that \"the prospect of charging money for software was a crime against humanity.\" He clarified, years later, that it is blocking the user's freedom that he believes is a \"crime\", not the act of charging for a copy of the software.\nSymbolics had recruited most of the remaining MIT hackers including notable hacker Bill Gosper, who then left the AI Lab. Symbolics forced Greenblatt to also resign at the AI lab, by citing MIT policies. So for two years at the MIT AI Lab, from 1982 to the end of 1983, Stallman singlehandedly duplicated the efforts of the Symbolics programmers, in order to prevent them from gaining a monopoly on the lab's computers. Although LMI was able to benefit from Stallman's freely available code, he was the last of the \"hackers\" at the lab. Later programmers would have to sign non-disclosure agreements not to share source code or technical information with other software developers.\n\nStruggle and decline \nLisp Machines, Inc. sold its first LISP machines, designed at MIT, as the LMI-CADR. After a series of internal battles, Symbolics began selling the CADR from the MIT Lab as the LM-2. Symbolics had been hindered by Noftsker's promise to give Greenblatt a year's head start, and by severe delays in procuring venture capital. Symbolics still had the major advantage that while none of the AI Lab hackers had gone to work for Greenblatt, a solid 14 had signed onto Symbolics. There were two AI Lab people who choose not to be employed by either: Richard Stallman and Marvin Minsky.\n \nSymbolics ended up producing around 100 LM-2s, each of which sold for $70,000. Both companies developed second-generation products based on the CADR: the Symbolics 3600 and the LMI-LAMBDA (of which LMI managed to sell around 200). The 3600, which shipped a year late, expanded on the CADR by widening the machine word to 36-bits, expanding the address space to 28-bits, and adding hardware to accelerate certain common functions that were implemented in microcode on the CADR. The LMI-LAMBDA, which came out a year after the 3600, in 1983, was mostly upward compatible with the CADR (source CADR microcode fragments could be reassembled), but there were improvements in instruction fetch and other hardware differences including use of a multiplier chip and a faster logic family and cache memory. The LAMBDA's processor cards were designed to work in a NuBus based engineering workstation, which had been originated by Steve Ward's group at MIT, and, through a separate chain of events, was being developed by Western Digital Corporation. This allowed the popular LAMBDA \"2x2\" configuration whereby two machines shared one infrastructure, with considerable savings. Texas Instruments (TI) joined the fray by investing in LMI after it ran out of money, purchasing and relocating the NUBUS engineering workstation unit from Western Digital, licensing the LMI-LAMBDA design and later producing its own variant, the TI Explorer.\n\nSymbolics continued to develop the 3600 family and its operating system, Genera, and produced the Ivory, a VLSI chip implementation of the Symbolics architecture. Texas Instruments shrunk the Explorer into silicon as the Explorer II and later the MicroExplorer. LMI abandoned the CADR architecture and developed its own K-Machine, but LMI went bankrupt in 1987 before the machine could be brought to market.\n\nGigaMos Systems\nLMI was reincarnated as GigaMos Systems; Greenblatt was one of its officers. GigaMos, through the ownership of a Canadian backer named Guy Montpetit, bought the assets of LMI through a Chapter 11 bankruptcy reorganization. Prior to the incorporation of GigaMos, LMI developed a new Lisp machine called the \"K-machine\" which used a RISC-like architecture. Montpetit subsequently became embroiled in a 1989 Canadian political scandal which, as a side-effect, resulted in the seizure of all the assets of GigaMos, rendering the company unable to meet payroll.\n\nInspiration for Stallman and Free Software\nAccording to Richard Stallman, the dispute between LMI and Symbolics inspired Stallman to start software development for the GNU operating system in January 1984, and the Free Software Foundation (FSF) in October 1985. These were forerunners of the open-source-software movement and the Linux operating system.\n\nReferences\n\nCompanies based in Cambridge, Massachusetts\nLisp (programming language)\nLisp (programming language) software companies\nDefunct computer companies based in Massachusetts" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999" ]	C_935e1f6ac5374751a71a43d1aacc7ff3_0	When was it released?	1	When was 'To Bring You My Love and Is This Desire' released?	PJ Harvey	As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER	In 1995 she released her third studio album, To Bring You My Love,	Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers	true	[ "When the Bough Breaks is the second solo album from Black Sabbath drummer Bill Ward. It was originally released on April 27, 1997, on Cleopatra Records.\n\nTrack listing\n\"Hate\" – 5:00\n\"Children Killing Children\" – 3:51\n\"Growth\" – 5:45\n\"When I was a Child\" – 4:54\n\"Please Help Mommy (She's a Junkie)\" – 6:40\n\"Shine\" – 5:06\n\"Step Lightly (On the Grass)\" – 5:59\n\"Love & Innocence\" – 1:00\n\"Animals\" – 6:32\n\"Nighthawks Stars & Pines\" – 6:45\n\"Try Life\" – 5:35\n\"When the Bough Breaks\" – 9:45\n\nCD Cleopatra CL9981 (US 1997)\n\nMusicians\n\nBill Ward - vocals, lyrics, musical arrangements\nKeith Lynch - guitars\nPaul Ill - bass, double bass, synthesizer, tape loops\nRonnie Ciago - drums\n\nCover art and reprint issues\n\nAs originally released, this album featured cover art that had two roses on it. After it was released, Bill Ward (as with Ward One, his first solo album) stated on his website that the released cover art was not the correct one that was intended to be released. Additionally, the liner notes for the original printing had lyrics that were so small, most people needed a magnifying glass to read them. This was eventually corrected in 2000 when the version of the album with Bill on the cover from the 70's was released. The album was later on released in a special digipak style of case, but this was later said to be released prematurely, and was withdrawn.\n\nReferences\n\nExternal links\nWhen the Bough Breaks at Bill Ward's site\nWhen the Bough Breaks at Black Sabbath Online\n\nBill Ward (musician) albums\nBlack Sabbath\n1997 albums\nCleopatra Records albums", "Joseph Jin Dechen (; June 19, 1919 – November 21, 2002) was a Chinese Catholic priest and Bishop Emeritus of the Roman Catholic Diocese of Nanyang.\n\nBiography\nHe was ordained a priest in 1944. In 1958, he was arrested for the first time and sentenced to life in prison. This sentence was settled and he was released in 1973. In December 1981, when he was Bishop Emeritus in Roman Catholic Diocese of Nanyang, he was again arrested, charged with resistance to abortion and birth control, and was sentenced to 15 years of prison and five years of subsequent loss of political rights on July 27, 1982. He was detained in the Third Province Prison in Yu County (now Yuzhou), near Zhengzhou in Henan, and was pardoned and released in May 1992 and ordered to stay in his village Jinjiajiang, near Nanyang. He was out of weakness when he was released from prison.\n\nReferences\n\n1919 births\n2002 deaths\n20th-century Roman Catholic bishops in China" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "When was it released?", "In 1995 she released her third studio album, To Bring You My Love," ]	C_935e1f6ac5374751a71a43d1aacc7ff3_0	Did he feature any artist on the albulm?	2	Did PJ Harvey feature any artist on the "To Bring You My Love and Is This Desire" album?	PJ Harvey	As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER	former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty,	Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers	true	[ "\"Tight Fittin' Jeans\" is a song written by Michael Huffman, and recorded by American country music artist Conway Twitty. It was released in June 1981 as the first single from the album Mr. T. The song was Twitty's 26th number one on the country chart. The single stayed at number one for one week and spent a total of 10 weeks on the country chart.\n\nThe original album cut of the song did not feature any electric guitar leads; they were overdubbed for the single version after the album's release.\n\nCharts\n\nCertifications\n\nReferences\n \n\n1981 singles\n1981 songs\nConway Twitty songs\nSong recordings produced by Owen Bradley\nMCA Records singles\nSongs about jeans", "Brian Pimental is an American veteran storyboard artist, director and screenwriter of animated films. He is best known for directing Bambi II.\n\nHaving started his career at Walt Disney Feature animation as a trainee on Oliver & Company, he went on to become a story artist on Beauty and the Beast, for which he created the \"Be Our Guest\" sequence as well as the \"Human Again\" sequence, the latter of which was featured in both the Broadway play and the extended version of the film. He was also a story artist on Aladdin.\n\nHe went on to become one of the screenwriters on A Goofy Movie. He was also the Head of Story and earned his first ASIFA Award nomination for storyboarding on this film. His second nomination was for the film Tarzan, for which he once again headed up the story team as Head of Story.\n\nHis directorial debut came on Bambi II, which went on to win the ASIFA award for best non-theatrical feature. He also created the voices for the Porcupine and Groundhog in the film.\n\nA native of Massachusetts, Pimental earned a Bachelor of Fine Arts Degree at the California Institute of the Arts.'\n\nHe is currently working independently as director/writer.\n\nReferences\n\nAmerican animators\nAmerican animated film directors\nAnimation screenwriters\nLiving people\nWalt Disney Animation Studios people\n1960 births" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "When was it released?", "In 1995 she released her third studio album, To Bring You My Love,", "Did he feature any artist on the albulm?", "former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty," ]	C_935e1f6ac5374751a71a43d1aacc7ff3_0	Who produce the albulm?	3	Who produce the 'To Bring You My Love and Is This Desire' album?	PJ Harvey	As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER	Flood.	Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers	true	[ "Palabra de honor (\"Word of Honour\") is the fourth studio album released by Mexican performer Luis Miguel on 9 November 1984 with his then record label EMI. It was heavily promoted in México. The single \"Isabel\" was ranked at number 70 on the VH1 Top 100 of Greatest Songs of the 80's in Spanish. It also includes a duet with Scottish singer Sheena Easton, \"Me Gustas Tal Como Eres,\" which received the Grammy Award for Best Mexican-American Performance. The album peaked at #9 in the California's Billboard Top Latin Albums. According to a promotional ad by EMI, the album was certified gold in Mexico and platinum in Argentina.\n\nTheir is a Portuguese adaptation of the Albulm called “Meu Sonho Perdido”. The original songs and the Portuguese versions are listed below.\n\nTrack listing \n\n \"Tú No Tienes Corazón\" (Honorio Herrero) - 2:39\n \"Un Rock & Roll Sonó\" (J.C. Calderon / Honorio Herrero) - 3:04\n \"La Chica Del Bikini Azul\" (Honorio Herrero) - 2:56\n \"Lili\" (Luis Gómez-Escolar) - 3:28\n \"Palabra de Honor\" (Luis Gómez-Escolar / J. Seijas / H. Herrero) - 3:32\n \"Rey de Corazones\" (Luis Gómez-Escolar / H. Herrero) - 2:20\n \"Me Muero Por Ti\" (Honorio Herrero) - 2:09\n \"Isabel\" (J.R. García Florez / J. Giralt) - 2:31\n \"Me Gustas Tal Como Eres\" (Duet with Sheena Easton) (J.C. Calderón) - 3:07\n \"Muñeca Rota\" (L. Gómez-Escolar / H. Herrero) - 3:13\n \"Háblame\" (L. Gómez-Escolar / H. Herrero) - 2:39\n\nPortuguese version \n\n Tu (\"Tú No Tienes Corazón\") (H. Herrero; Vers: Carlos Colla)\n Um Rock And Roll Tocou (\"Un Rock & Roll Sonó\") (J. C. Calderón, H. Herrero; Vers: Carlos Colla)\n Menina do Biquini Azul (\"La Chica Del Bikini Azul\") (H. Herrero; Vers: Carlos Colla)\n Danny (\"Lili\") (Luiz Gómez Escolar, H. Herrero; Vers: Carlos Colla)\n Chama-me (\"Háblame\") (Luiz Gómez Escolar, H. Herrero; Vers: Carlos Colla)\n Rei, Rei, Rei (\"Rey de Corazones\") (Luiz Gómez Escolar, H. Herrero; Vers: Carlos Colla)\n Eu Quero Você (\"Me Muero Por Ti\") (H. Herrero; Vers: Carlos Colla)\n Salva-me (\"Isabel\") (J. R. García Florez, J. Giralt; Vers: Carlos Colla)\n Meu Sonho Perdido (\"Palabra de Honor\") (Luiz Gómez Escolar, Julio Seijas, H. Herrero; Vers: Carlos Colla)\n Mírate (sung in Spanish) (Luiz Gómez Escolar, H. Herrero) \n Mini Amor (Bonus Track) (Luiz Gómez Escolar, Julio Seijas; Vers: Carlos Colla)\n\nReferences \n\nLuis Miguel albums\n1984 albums\nEMI Records albums\nSpanish-language albums\nAlbums produced by Juan Carlos Calderón", "Produce 101 Season 2 is a South Korean reality television show.\n\nContestants\nThe spelling of name in English are according to the official website. The Korean contestants are presented in Eastern order (family name, given name). The age listed is according to the Korean age system at the start of the competition.\n\nColor key\n\nKang Dong-ho was revealed to have been rigged out of Wanna One. His original rank is unknown.\n\nGroup Battle Performances (Episodes 3-4)\nColor key\n\n () denotes the team with the highest score who can perform on M Countdown.\n Bold denotes the person who picked the team members.\n\nPosition Evaluation Performances (Episodes 6-7)\nColor key\n\n(*) Ha Min-ho left the show shortly after the position performances were filmed.\n\nConcept Evaluation Performances (Episode 9)\nColor key\n\nDebut Evaluation Performances (Episode 11)\nColor key\n\nNotes\n\nReferences\n\n \nProduce 101 contestants (season 2)\nProduce 101 Season 2 contestants\nProduce 101 Season 2 contestants\nProduce 101 Season 2 contestants\nProduce 101 Season 2 contestants" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "When was it released?", "In 1995 she released her third studio album, To Bring You My Love,", "Did he feature any artist on the albulm?", "former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty,", "Who produce the albulm?", "Flood." ]	C_935e1f6ac5374751a71a43d1aacc7ff3_0	Was the album a success?	4	Was the 'To Bring You My Love and Is This Desire' album a success?	PJ Harvey	As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER	The album was a commercial success selling one million copies worldwide including 370,000 in the United States.	Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers	true	[ "Collaborations 2 is the tenth studio album by Punjabi singer Sukshinder Shinda, released on 26 February 2009 worldwide making his second collaborated album. The album was also released internationally to USA, Canada, and U.K.\n\nThe album was preceded by the lead single, Ghum Shum Ghum Shum which featured Rahat Fateh Ali Khan. The song was also Shinda's first with Rahat. Following the success of his first single, Yarrian Banai Rakhi Yaarian featuring Jazzy B, was released which was another success. Despite success with two singles from the album, the album received positive reviews.\n\nTrack listing\n\nReferences\n\n2009 albums", "Myriam is the second studio album by Myriam. On her website it is also called \"Myriam: Lo que Soy, lo que Pretendo y lo que Fui\" (Myriam: What I Am, What I Pretend and What I Was) making reference to the lyrics of the album's first single \"Hasta El Limite\". It includes eleven songs with the collaboration of Tiziano Ferro, Leonel (ex Sin Bandera). Again Myriam co-wrote a song along with Estrella. In this album Myriam brought a more fresh concept, almost 100% pop genre with a little touches of flamenco. It was released in July, 2004.\n\nAlbum information\nIt was recorded in Argentina and the producer was Cachorro López who had also worked with Julieta Venegas. Myriam's career was at a low point, as she was being criticized for her third place in Desafio de Estrellas, but all that was eclipsed by the success of this album. \"Hasta el Limite\" was the first single from the album; it was Myriam's first song with a promotional video, and stayed in the charts for more than 6 months. The second single was \"Porque Soy Mujer\" which was written by Myriam and her ex-classmate Estrella.\n\nThe album was a commercial success. Within two weeks of the launch date it reached gold status in Mexico, and sold more than 200,000 copies certificating 2× Platinum. The album was a Latin success in USA selling gold status, 50,000 copies.\n\nTrack listing\n\nReferences\n\n2003 albums\nMyriam Montemayor Cruz albums" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "When was it released?", "In 1995 she released her third studio album, To Bring You My Love,", "Did he feature any artist on the albulm?", "former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty,", "Who produce the albulm?", "Flood.", "Was the album a success?", "The album was a commercial success selling one million copies worldwide including 370,000 in the United States." ]	C_935e1f6ac5374751a71a43d1aacc7ff3_0	Which single in the album was mentioned?	5	Which single in the 'To Bring You My Love and Is This Desire' album was mentioned?	PJ Harvey	As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER	"Down by the Water."	Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers	true	[ "Now's the Time! is the nineteenth album released by Tony Christie. It was released in early 2011, on the Acid Jazz record label which had previously released recordings by Andy Bennett, Lord Large, and Geno Washington & the Ram Jam Band. It was released on both the LP and CD formats.\n\nBackground\nAfter signing with the Acid Jazz label in 2010, Christie's single \"Nobody In The World\" bw \"Seven Hills \" was released that year. The single was a Northern Soul styled single. According to the Acid Jazz label, it was his first mod single since Shel Talmy produced him in 1966. An article in Scootering mentioned the single's inclusion the proposed 2011 Acid Jazz album release. It was announced that the Northern Soul inspired album was to be released in January 2011. Christie's nineteenth studio album, Now's the Time!, was released in the UK on 7 February 2011 through Acid Jazz. Produced by Richard Barrett of All Seeing I, it included collaborations with Jarvis Cocker and Róisín Murphy. The album includes the song \"Get Christie\", which is a spoof of Get Carter.\n\nReviews\nMartin Townsend of the Daily Express gave it a favorable review, saying it oozed wit and style. It got a favorable review from Pop Junkie with the reviewer saying it was nearly as good as his Made in Sheffield album. Anorak gave it an 8/10 rating, singling out \"Get Christie\", \"Nobody in the World\" and the duet with Roisin Murphy for mention. In his review of the album All Music's Jon O'Brien said that Christie could have made one of the best albums of his career. In a review of Christie's Golden Anniversary Tour, and the songs performed, Graham Walker of the Sheffield Star mentioned that \"Now Is The Time\" which was on the album was a personal favorite of his.\n\nCredits\n Tony Christie (vocals) \n Steven Boyce Buckley (keyboards, string arrangements) \n David Lewin (keyboards, guitars, programming, horn arrangements) \n Andy Williams (keyboards) \n Dean Honer (keyboards) \n Dale Gibson (trumpet, flugelhorn) \n Michael Ward (saxes, flute, horn arrangements, background vocals) \n Cary Baylis (guitars) \n Tim McCall (guitars) \n Danny Lowe (bass guitar) \n Sean Fitzgerald (percussion) \n Nick Death Ray (percussion) \n Richard Barratt (programming)\n Sheila Gott (background vocals) \n Philly Smith (background vocals) \n Nesreen Bibi Shaw (background vocals) \n Siobhan Gallagher (background vocals) \n Róisín Murphy (vocals - track 3)\n\nAlbum info\n\nReferences\n\n2011 albums\nTony Christie albums\nAcid Jazz Records albums", "Une enfant du siècle (in English: \"a child of the century\") is the fourth studio album by the French recording artist Alizée. The first one released under Jive Records/Epic label and her first French-English-Spanish language album. The full album leaked on to the Internet on 19 March 2010. The album was released in France on 29 March 2010. The album received positive reviews from critics, who praised the radical change and collaborations, but criticized the perceived lack of enthusiasm in her singing. Respondents praised the album for its mature nature, abstract and sober, the musical direction of Alizée, calling it her \"most risky record\". On the same day Alizée signed autographs at Virgin Megastore in Paris. The album is inspired by and depicts the life of Edie Sedgwick.\n\nBackground\nThe theme of the album is the life of American model Edie Sedgwick from the birth till the death, based on the style of Andy Warhol. He isn't mentioned in the lyrics but the album has many references on him.\n\nThe musical style is electro-pop, litmus between dark and light shades of colors fading together, outfitted with deep and abstract lyrics that make reference to the Sedgwick's life and her influence in contemporary culture since its emergence in the media, art, politics and everything encompassed her and Warhol. Sedgwick is mentioned in the lyrics and referred as Factory Girl, which could be considered to be a reference to The Factory. New York City's elite society is mentioned and in some interviews Alizée told that she also referred to the elite of France and Paris.\n\nDevelopment \nIn the beginning of 2009, Alizée had to cancel a concert in France. Shortly after it she announced work on her future album, which would sound very different from all of her previous albums. It was released in France on 29 March 2010.\n\nThe album was recorded in Paris and London. British website Popjustice gave out that the first single was partially in English and it was called \"Limelight\". On 15 February 2010 they uploaded the full version of the song and a clip from the music video. However, it was later confirmed by Popjustice itself that \"Limelight\" was a teaser single, and the official single from Alizée's fourth album is \"Les Collines (Never Leave You)\".\n\nThe Collector's Edition of the album was made available for pre-order on 4 February 2010. It was sold only on her official website.\n\nPromotion\n\nFor the promotion of the album Alizée did a photo shoot for her album. She also posed on the French magazine Technikart, on which she was imitating Madonna from her album Like a Virgin. A small showcase was held at Point Ephémère in Paris. She also participated in hommage to Serge Gainsbourg in Tel Aviv with cover version of Dis-lui toi que je t'aime by Vanessa Paradis, accompanied with the national orchestra at National Opéra Hall and another presentations with the Israeli singer Harel Skaat and other artist with whom she won the respect and affection of the country making this album a hit positioning itself at number one for two weeks on the Israeli charts after Israel's promotion.\n\nSingles\nLimelight was used as a teaser song for the album. The song is in English and is electro-pop in style. It was composed by Angy Laperdrix, Guillaume de Maria, Julien Galinier and Raphael Vialla. The single was only on sale in Poland.\n\nLes collines (never leave you) (English: \"the hills (never leave you)\") released in 2010. Is the first single from the album. The single is electro-pop. It was composed by Angy Laperdrix, Guillaume de Maria, Julien Galinier and Raphael Vialla.\nThe single was praised by critics telling it to be \"The song and the album that gave new life to Alizée's career, a good buzz in radical change of style.\"\nThe single mixes French and English lyrics as many French songs these days. The English is used as an effect to bring it more variety.\n\nCritical reception\n\nUne enfant du siècle was met with positive reviews, some praising the album's production and ambition, but others also criticizing Alizée's perceived lack of interest in the project. The album was considered a commercial failure.\n\nTrack listing\n\nPersonnel\nCredits adapted from Une enfant du siècle liner notes.\n\n Alizée – Artist and Chorus\n Chateau Marmont – Producer\n Partel Oliva – Artwork\n Jean-René Etienne – Executive Producer \n Nilesh Patel – Mastered\n Jack Lahana & Rob – Mix\n\n Strings: \n Arthur Boutiller (tracks: 1, 3, 7)\n Aurélie Lopez (tracks: 1, 3, 7)\n David Gabel (tracks: 1, 3, 7)\nMarie Friez (tracks: 1, 3, 7)\n Camille Vivier – Photography\n\nChart performance\n\nUne enfant du siècle entered the French Albums Chart at place 24 on 3 April 2010. On its second week, it fell down to place 69, spending only 2 weeks in the top 100 and 6 weeks in the top 200. It also peaked at place 13 on the digital chart but only spent 1 week in the top 50. In Mexico, the album started at place 22 and spent 5 weeks in the top 100, the first single peaked at the first place on the third week.\n\nWeekly charts\n\nRelease history\n\nReferences\n\n2010 albums\nAlizée albums" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "When was it released?", "In 1995 she released her third studio album, To Bring You My Love,", "Did he feature any artist on the albulm?", "former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty,", "Who produce the albulm?", "Flood.", "Was the album a success?", "The album was a commercial success selling one million copies worldwide including 370,000 in the United States.", "Which single in the album was mentioned?", "\"Down by the Water.\"" ]	C_935e1f6ac5374751a71a43d1aacc7ff3_0	Was the single successfull?	6	Was the single "Down by the Water" successful?	PJ Harvey	As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER	CANNOTANSWER	Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers	false	[ "Hidden Valley is an unincorporated community in Jefferson Township, Somerset County, Pennsylvania, United States. The Hidden Valley Foundation is a large HOA (Home Owners Association) which comprises Hidden Valley, PA (15502) and the 1185 homes within its boundaries. The community is governed by an elected Board of Directors and is managed by a professional staff within the South Ridge Center. Hidden Valley provides the community with 24/7/365 services including private roads, grounds maintenance, security, social & recreational programs, amenities (pools, tennis courts, pickleball courts, play grounds, parks, trails, the Mountain Metric Bike Race, and others), Architectural Control and enforcement of the CCR's (Conditions, Covenants, and Restrictions) to maintain the HOA.\n\nFormally, Hidden Valley Foundation and the Hidden Valley Resort were one entity under developer control while Hidden Valley was building out. The developers control was sunsetted per the Declaration and as of January 1, 2020, the community of Hidden Valley through the Hidden Valley Foundation became a self governing community. The Hidden Valley Resort, a ski resort is located within the community, but is not part of the Hidden Valley Foundation (the HOA) along the southern side of Pennsylvania Route 31. The Pennsylvania Turnpike (Interstates 70/76) is within a few miles of the community, which lies in the Laurel Highlands. They also were expanding on the north side but was never successfull. So does anyone know what happened yes! I know from former research that the map changed they sold their company and were loosing money so decided to give up and sell it. Then the other thing is that there was thunderbird lift and that is now gone. Why well again they were wasting money and not many people rode on it anyways. If you’re interested in seeing a lift car go to the coffee shop called silver horse across the street from jumping jack’s and next door from foxes pizza.\n\nReferences\n\nExternal links\nhttp://www.wunderground.com/US/PA/Hidden_Valley.html\n\nUnincorporated communities in Somerset County, Pennsylvania\nUnincorporated communities in Pennsylvania", "Ipirhan Orki (Greek: Υπήρχαν Όρκοι; ) is the second studio album by Greek musician Giannis Ploutarhos, released on March 22, 2000 by Minos EMI in Greece and Cyprus. This was the first album where Ploutarhos contributed musically. The album was certified double Platinum by the IFPI Greece for sales of at least 80,000 copies, becoming his first album to be certified in Greece and making it his joint third most successful album there.\n\nTrack listing\n\nSingles\n\"Ipirhan Orki\"\nThe first single from the album was \"Ipirhan Orki\", which was composed by Ploutarhos himself with lyrics by Natali. The music video was directed by Kostas Kapetanidis.\n\n\"Fysai Poli\"\nThe second single from the album was \"Fysai Poli\". The music video was directed by Kostas Kapetanidis and features Ploutarhos and a woman on the beach.\n\n\"Paramilao\" \nThe second single from the album was \"Paramilao\". The music video was directed by Kostas Kapetanidis and features Ploutarhos on a city rooftop.\n\n\"Se Xeperasa\"\nThe fourth single from the album was \"Se Xeperasa\". No music video was made to accompany the single.\n\n\"Se Hano\"\nThe fifth single from the album was \"Se Hano\". No music video was made to accompany the single.\n\n\"To Kalitero Paidi\"\nThe fifth single from the album was \"To Kalitero Paidi\". The music video was directed by Kostas Kapetanidis and features Ploutarhos on top of a cliff.\n\n\"Siga Siga\"\nThe last single from the album was \"Siga Siga\". There was no music video accompanying the single.\n\nChart performance\n\nReferences\n\nExternal links\nGiannis Ploutarhos at Minos EMI official site\n\n2000 albums\nGiannis Ploutarhos albums\nGreek-language albums\nMinos EMI albums" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "When was it released?", "In 1995 she released her third studio album, To Bring You My Love,", "Did he feature any artist on the albulm?", "former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty,", "Who produce the albulm?", "Flood.", "Was the album a success?", "The album was a commercial success selling one million copies worldwide including 370,000 in the United States.", "Which single in the album was mentioned?", "\"Down by the Water.\"", "Was the single successfull?", "I don't know." ]	C_935e1f6ac5374751a71a43d1aacc7ff3_0	Are there any other interesting aspects about this article?	7	Aside from the release date are there any other interesting aspects about the "To Bring You My Love and Is This Desire" album by PJ Harvey article?	PJ Harvey	As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER	Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch.	Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers	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" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "When was it released?", "In 1995 she released her third studio album, To Bring You My Love,", "Did he feature any artist on the albulm?", "former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty,", "Who produce the albulm?", "Flood.", "Was the album a success?", "The album was a commercial success selling one million copies worldwide including 370,000 in the United States.", "Which single in the album was mentioned?", "\"Down by the Water.\"", "Was the single successfull?", "I don't know.", "Are there any other interesting aspects about this article?", "Harvey began composing material that would end up on her fourth studio album, during what she referred to as \"an incredibly low patch." ]	C_935e1f6ac5374751a71a43d1aacc7ff3_0	What are the materials he was composing?	8	What is one of the albums PJ Harvey was composing?	PJ Harvey	As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER	Is This Desire? (1998).	Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers	true	[ "Vladimir Akimovich Bron (14 September 1909, Mykolaiv – 1985, Sverdlovsk, USSR) was a Soviet chess master and problemist.\n\nBorn into a Jewish family in Nikolaev (currently Mykolaiv), near Kherson, he was one of the leading scientists of the refractory materials industry. Professor Bron also actively participated in the Sverdlovsk Chess Federation.\n\nHe was a top Soviet composer of chess studies. In 1969 he wrote Selected Studies and Problems. He won 31 first prizes in composing tourneys.\n\nDr. Bron was awarded the International Master title for chess composition in 1966 and the Grandmaster Composer title in 1975.\n\nReferences\n\n1909 births\n1985 deaths\nUkrainian Jews\nSoviet chess players\nJewish chess players\nChess composers\nGrandmasters for chess composition\n20th-century chess players", "Smile is the eleventh studio album by Japanese singer and songwriter Mai Kuraki. The album was released on February 15, 2017, by Northern Music. It is the follow-up to her 2014 compilation album, Mai Kuraki Best 151A: Love & Hope. The album was released on three editions: standard edition, fan club edition, and limited edition, which is accompanied with a bonus disc. Smile\n\nThe album was preceded by three singles, \"Serendipity\", \"Sawage Life\", and \"Yesterday Love\", which was released as the video single and peaked at number six in Japan. To promote the album, Kuraki embarked on the national tour, \"Mai Kuraki Live Project 2017 \"Sawage Life\"\" from March 18, 2017.\n\nPromotion\n\nSingles\n\"Serendipity\" was released as the lead single from the album on May 20, 2015. It has peaked at number 6 on the RecoChoku Weekly Singles Chart, but failed to enter the Japan Hot 100. The song was used by West Japan Railway Company for the promotion of San'yō Shinkansen.\n\n\"Sawage Life\" was released as the second single from the album on July 30, 2016. The song was written by the American singer-songwriter Porcelain Black and Bobby Huff and featured as the ending theme song for the Japanese animation program Case Closed.\n\n\"Yesterday Love\" was released as the third single from the album on January 11, 2017. The song was released on Blu-ray and DVD format and has peaked at number 3 on the Oricon Music Blu-ray Chart. The song was also featured as the ending theme song for Case Closed.\n\nCommercial performance\nSmile sold 11,910 copies in its release date and debuted at number 4 on the Oricon daily chart behind Big Bang's Made, Scandal's Best Album \"Scandal\" and Leo Ieiri's 5th Anniversary Best.\nIt peaked at number 2 on the chart on February 16, 2017 with selling 4,220 copies in a day. The album debuted at number 4 on the Oricon weekly chart with selling 21,222 copies in its first week.\n\nAs of March, 2018, the album has sold 29,716 physical copies in Japan.\n\nTrack listing\n\nPersonnel\nCredits adapted from the CD booklet of Smile.\n\nMai Kuraki – vocals, producer, songwriting,\nAkihito Tokunaga - composing, tracking\nToshiya Kubota - composing, backing vocals\nDaikō Nagato - producer, composing, tracking\nShibu - composing, tracking\nCommand Freaks- composing, tracking\nTesung Kim - composing, tracking\nSophia Pae - composing, tracking\nJake K - composing, tracking\nTakashi Fukuda - composing, tracking\nMaxx song - composing, tracking\nYongshin Kim - composing, tracking\nAlaina Beaton - composing\nBobby Huff - composing\nMakoto Watanabe - composing\nManabu Marutani - composing\nNanna Larsen - composing\n\nSidnie Tipton - composing\nShane Pittman - composing\nMichael Africk - backing vocals\nTaito - tracking\nShoko Mochiyama - tracking\nNash Overstreet - tracking\nNaoki Morioka - guitar\nYumemoto Tsuresawa - guitar, tracking\nTakayuki Ichikawa - recording, mixing\nSeiji Motoyama - mixing, composing, tracking\nEthan Brand - mixing\nMiguel Sa Pessoa - mixing\nAsumi Narita - coordinator\nMasahiro Shimada- mastering\nMiho Saito - A&R\nAsako Watanabe - artist management\nChiharu Kurosawa - artist management\nTetsuo Sato - art direction, art design\n\nCharts\n\nDaily charts\n\nWeekly charts\n\nMonthly charts\n\nCertification and sales\n\nRelease history\n\nReferences\n\n2017 albums\nMai Kuraki albums\nBeing Inc. albums\nJapanese-language albums\nAlbums produced by Daiko Nagato" ]
[ "Ernie Kovacs", "Tax evasion" ]	C_371d74ab7ff040318b996407062ec0d2_0	what was the tax evasion about?	1	What was Ernie Kovacs' tax evasion about?	Ernie Kovacs	A frequent critic of the U.S. tax system, Kovacs owed the Internal Revenue Service several hundred thousand dollars in back taxes, due to his simple refusal to pay the bulk of them. Up to 90% of his earnings were garnished as a result. His long battles with the IRS inspired Kovacs to invest his money in a convoluted series of paper corporations in the U.S. and Canada. He would give them bizarre names, such as "The Bazooka Dooka Hicka Hocka Hookah Company". In 1961, Kovacs was served with a $75,000 lien for back taxes; that same day he bought the California Racquet Club with the apparent hope of being able to use it as a tax write-off. The property had mortgages at the time of purchase which were later paid by Edie Adams. His tax woes also affected Kovacs's career, forcing him to take any offered work to pay his debt. This included the ABC game show Take A Good Look, appearances on variety shows such as NBC's The Ford Show, Starring Tennessee Ernie Ford, and some of his less memorable movie roles. He also filmed an unaired 1962 pilot episode for a proposed CBS series, Medicine Man (co-starring Buster Keaton, pilot episode titled "A Pony For Chris"). Kovacs's role was that of Dr. P. Crookshank, a traveling medicine salesman in the 1870s selling Mother McGreevy's Wizard Juice, also known as "man's best friend in a bottle". This was abandoned after his death, which occurred the day after filming some scenes for the pilot in Griffith Park. CBS initially intended to broadcast the show as part of a summer replacement program, The Comedy Spot, but decided against it due to problems with Kovacs's estate. The pilot is part of the public collection of the Paley Center for Media. Some of the issues regarding Kovacs's tax problems were still unresolved years after his death. Kovacs had purchased two insurance policies in 1951; his mother was named as the primary beneficiary of them. The IRS placed a lien against them both for their cash value in 1961. To stop the actions being taken against her, Mary Kovacs had to go to Federal court. The court's early 1966 ruling resolved the issue, with the last sentence of the document reading: "Prima facie, it looks as if, within the limits of discretion permitted the government by the relevant statutes, an injustice is being done Mary Kovacs." Adams, who married and divorced twice after Kovacs's death, refused help from celebrity friends who planned a benefit for the purpose. Saying "I can take care of my own children", and being determined to accept offers only from those who wanted to hire her for her talents, Adams managed to pay all of Kovacs' debts. CANNOTANSWER	A frequent critic of the U.S. tax system, Kovacs owed the Internal Revenue Service several hundred thousand dollars in back taxes,	Ernest Edward Kovacs (January 23, 1919 – January 13, 1962) was an American comedian, actor, and writer. Kovacs's visually experimental and often spontaneous comedic style influenced numerous television comedy programs for years after his death. Kovacs has been credited as an influence by many individuals and shows, including Johnny Carson, David Letterman, Rowan and Martin's Laugh-In, Saturday Night Live, Monty Python's Flying Circus, Jim Henson, Max Headroom, Chevy Chase, Conan O'Brien, Jimmy Kimmel, Captain Kangaroo, Sesame Street, The Electric Company, Pee-wee's Playhouse, The Muppet Show, Dave Garroway, Andy Kaufman, You Can't Do That on Television, MST3K, Uncle Floyd, among others. Chevy Chase thanked Kovacs during his acceptance speech for his Emmy award for Saturday Night Live. While Kovacs and Adams received Emmy nominations for best performances in a comedy series during 1957, his talent was not recognized formally until after his death. The 1962 Emmy for Outstanding Electronic Camera Work and the Directors' Guild award came a short time after his fatal accident. A quarter century later, he was inducted into the Academy of Television Arts & Sciences Hall of Fame. Kovacs also has a star on the Hollywood Walk of Fame for his work in television. In 1986, the Museum of Broadcasting (later to become the Museum of Television & Radio and now the Paley Center for Media) presented an exhibit of Kovacs's work, called The Vision of Ernie Kovacs. The Pulitzer Prize–winning television critic, William Henry III, wrote for the museum's booklet: "Kovacs was more than another wide-eyed, self-ingratiating clown. He was television's first significant video artist." Early life and career Kovacs's father, Andrew John Kovacs, was born in 1890 and emigrated from Tornaújfalu, Hungary, which is now known as Turnianska Nová Ves, Slovakia. Andrew sailed on the S.S. Würzburg via Bremen, arriving at Ellis Island on February 8, 1906, at age 16. He worked as a policeman, restaurateur, and bootlegger, the last so successfully that he moved his wife Mary, son Tom, and his half-brother Ernest Edward Kovacs into a 20-room mansion in the better part of Trenton. Though a poor student, Kovacs was influenced by his Trenton Central High School drama teacher, Harold Van Kirk, and received an acting scholarship to the American Academy of Dramatic Arts in 1937 with Van Kirk's help. The end of Prohibition and the onset of the Great Depression resulted in difficult financial times for the family. When Kovacs began drama school, all he could afford was a fifth-floor walk-up apartment on West 74th Street in New York City. During this time, he watched many "Grade B" movies; admission was only ten cents. Many of these movies influenced his comedy routines later. A 1938 local newspaper photograph shows Kovacs as a member of the Prospect Players, not yet wearing his trademark mustache. Kovacs used his class vacation time to pursue roles in summer stock companies. While working in Vermont in 1939, he became so seriously ill with pneumonia and pleurisy that his doctors didn't expect him to survive. During the next year and a half, his comedic talents developed as he entertained both doctors and patients with his antics during stays at several hospitals. While hospitalized, Kovacs developed a lifelong love of classical music by the gift of a radio, which he kept tuned to WQXR. By the time he was released his parents had separated, and Kovacs went back to Trenton, living with his mother in a two-room apartment over a store. He began work as a cigar salesman, which resulted in a lifelong tobacco-smoking habit. Kovacs's first paid entertainment work was during 1941 as an announcer for Trenton's radio station WTTM. He spent the next nine years with WTTM, becoming the station's director of special events; in this job he did things like trying to see what it was like to be run over by a train (leaving the tracks at the last minute) and broadcasting from the cockpit of a plane for which he took flying lessons. Kovacs was also involved with local theater; a local newspaper published a photograph of him and the news that he was doing some directing for the Trenton Players Guild in early 1941. The Trentonian, a local weekly newspaper, offered Kovacs a column in June 1945; he named it "Kovacs Unlimited". Start in television Arriving at NBC's Philadelphia affiliate, WPTZ, for an audition wearing a barrel and shorts got Kovacs his first television job in January 1950. His first show was Pick Your Ideal, a fashion and promotional program for the Ideal Manufacturing Company. Before long, Kovacs was also the host of Deadline For Dinner and Now You're Cooking, shows featuring advice from local chefs. When Kovacs's guest chef did not arrive in time for the show, he offered a recipe for "Eggs Scavok" (Kovacs spelled backward). Kovacs seasoned the egg dish with ashes from his cigar. The sponsor was a local propane company. Hosting these shows soon resulted in his becoming host of a program named Three to Get Ready, named for WPTZ's channel 3 spot on television dials. Premiering in November 1950, Three to Get Ready was innovative because it was the first regularly scheduled early morning (7–9am) show in a major television market, predating NBC's Today by more than a year. Prior to this, it had been assumed that few people would watch television at such an early hour. While the show was advertised as early morning news and weather, Kovacs provided this and more in an original manner. When rain was in the weather forecast, Kovacs would get on a ladder and pour water down on the staff member reading the report. Goats were auditioned for a local theater performance and tiny women appeared to walk up his arm. Kovacs also went outside of the studio for some of his skits, running through a downtown Philadelphia restaurant in a gorilla suit in one; in another, he looked into a construction pit, saying it was deep enough to see to China, when a man in Chinese clothing popped up, said a few words in the language, and ran off. Despite its popularity, the weekly prop budget for the show was just $15. Kovacs once asked his viewers to send unwanted items to Channel 3; they filled the station's lobby. The only character no one ever saw inspired more gifts; he was Howard, the World's Strongest Ant. From the time of his WPTZ debut, Howard received more than 30,000 gifts from Kovacs's viewers, including a mink-lined swimming pool. Kovacs began his Early Eyeball Fraternal & Marching Society (EEFMS) while doing Three to Get Ready. There were membership cards with by-laws and ties; the password was a favorite phrase of Kovacs's: "It's Been Real". Kovacs continued the EEFMS on his morning show when he moved to WCBS in New York in 1952. The success of Three to Get Ready proved that people did indeed watch early-morning television, and it was one of the factors that caused NBC to create The Today Show. WPTZ did not begin broadcasting Today when it premiered on January 14, 1952; network influence caused the station to end Three to Get Ready at the end of March of that year. During early 1952, Kovacs was also doing a late morning show for WPTZ named Kovacs on the Corner. Kovacs would walk through an imaginary neighborhood, talking with various characters such as Pete the Cop and Luigi the Barber. As with Three to Get Ready, there were some special segments. "Swap Time" was one of them: Viewers could bring their unwanted items to the WPTZ studios to trade them live on the air with Kovacs. The show made its debut on January 4, 1952, with Kovacs losing creative control of the program soon after it was begun. Kovacs on the Corner was short-lived; it ended on March 28, 1952, along with Three to Get Ready. Kovacs then began work for WCBS-TV in New York with a local morning show and a later network one. Both programs were canceled; Kovacs lost the local morning program for the same reason as Three to Get Ready—the broadcasting time was confiscated by the station's network in 1954. Visual humor and characters At WPTZ, Kovacs began using the ad-libbed and experimental style that would become his reputation, including video effects, superimpositions, reverse polarities and scanning, and quick blackouts. He was also noted for abstraction and carefully timed non-sequitur gags and for allowing the fourth wall to be breached. Kovacs's cameras commonly showed his viewers activity beyond the boundaries of the show set—including crew members and outside the studio itself. Kovacs also liked talking to the off-camera crew and even introduced segments from the studio control room. He frequently made use of accidents and happenstance, incorporating the unexpected into his shows. In one of Kovacs's Philadelphia broadcasts, Oscar Liebetrau, an elderly crew member who was known for often sleeping for the duration of the telecast, was introduced to the audience as "Sleeping Schwartz." Kovacs was once knocked unconscious when a pie smashed into his face still had the plate under it. Kovacs's love of spontaneity extended to his crew, who would occasionally play on-air pranks on him to see how he would react. During one of his NBC shows, Kovacs was appearing as the inept magician Matzoh Heppelwhite. The sketch called for the magician to frequently hit a gong, which was the signal for a sexy female assistant to bring out a bottle and shot glass for a quick snort of alcohol. Stagehands substituted real liquor for the iced tea normally used for the skit. Kovacs realized that he would be called upon to drink a shot of liquor for each successive gong. He pressed on with the sketch and was quite inebriated by the end of the show. Kovacs helped develop camera tricks still common decades after his death. His character Eugene sat at a table to eat his lunch, but as he removed items one at a time from a lunch box, he watched them inexplicably roll down the table into the lap of a man reading a newspaper at the other end. When Kovacs poured milk from a thermos bottle, the stream flowed in a seemingly unusual direction. Never seen on television before, the secret was using a tilted set in front of a camera tilted at the same angle. He constantly sought new techniques and used both primitive and improvised ways of creating visual effects that would later be done electronically. One innovative construction involved attaching a kaleidoscope made from a toilet paper roll to a camera lens with cardboard and tape and setting the resulting abstract images to music. Another was a soup can with both ends removed fitted with angled mirrors. Used on a camera and turning it could put Kovacs seemingly on the ceiling. An underwater stunt involved cigar smoker Kovacs sitting in an easy chair, reading his newspaper and somehow smoking a cigar. Removing it from his mouth, Kovacs was able to exhale a puff of white smoke, all while floating underwater. The trick: the "smoke" was a small amount of milk which he filled his mouth with before submerging. Kovacs repeated the effect for a Dutch Masters television commercial on his ABC game show, Take A Good Look. One of the special effects he employed made it appear as if he was able to look through his assistant, Barbara Loden's, head. The illusion was performed by placing a black patch on Loden's head and standing her against a black background while one studio camera was trained on her. A second one photographed Kovacs, who used the studio monitor to position himself exactly so that his eye would appear to be looking through a hole in her head. He also developed such routines as an all-gorilla version of Swan Lake, a poker game set to Beethoven's Fifth Symphony, the skit Silent Show, in which Eugene interacts with the world accompanied solely by music and sound effects, parodies of typical television commercials and movie genres, and various musical segments with everyday items (such as kitchen appliances or office equipment) moving in sync to music. A popular recurring skit was The Nairobi Trio, three derby-hatted apes miming mechanically and rhythmically to the tune of Robert Maxwell's "Solfeggio". Kovacs used extended sketches and mood pieces or quick blackout gags lasting only seconds. Some could be expensive, such as his famous used-car salesman routine with a jalopy and a breakaway floor: it cost $12,000 to produce the six-second gag. He was one of the first television comedians to use odd fake credits and comments between the legitimate credits and, at times, during his routines. Kovacs reportedly disliked working in front of a live audience, as was the case with the shows he did for NBC during the 1950s. He found the presence of an audience distracting, and those in the seats frequently did not understand some of the more elaborate visual gags and special effects, which could only be appreciated by watching studio monitors instead of the stage. Like many comedians of the era, Kovacs created a rotation of recurring roles. In addition to the silent "Eugene," his most familiar characters were the fey, lisping poet Percy Dovetonsils, and the heavily accented German radio announcer, Wolfgang von Sauerbraten. Mr. Question Man, who answered viewer queries, was a satire on the long-run (1937–56) radio series, The Answer Man. Others included horror show host Auntie Gruesome, bumbling magician Matzoh Heppelwhite, Frenchman Pierre Ragout and Miklos Molnar, the sardonic Hungarian host of a cooking show. The Miklos character wasn't always confined to a kitchen; Kovacs performed a parody of The Howdy Doody Show with "Buffalo Miklos" as the host. Poet Percy Dovetonsils can be found playing Beethoven's Moonlight Sonata on a disappearing piano and as a "Master Detective" on the "Private Eye-Private Eye" presentation of the US Steel Hour on CBS March 8, 1961. On the same show, the Nairobi Trio abandons its instruments for a safe-cracking job; still with a background of "Solfeggio", but speaking, two of the three appear in an "Outer Space" sketch. Kovacs became a regular on NBC Radio's program Monitor beginning during late 1958, often using his Mr. Question Man character in his radio monologues. Kovacs never hesitated to lampoon those considered institutions of radio and television. In April 1954, he started the late-night talk show, The Ernie Kovacs Show, on DuMont Television Network's New York flagship station, WABD. Stage, screen and radio notables were often guests. Archie Bleyer, head of Cadence Records, came to chat one evening. Bleyer had been the long-time orchestra director for Arthur Godfrey's radio and television shows. He had been dismissed by Godfrey the year before, together with fellow cast member, singer Julius La Rosa. In La Rosa's case, he hired a manager, defying an unwritten Godfrey policy. With Bleyer, Godfrey was angered when he found that Bleyer's record company Cadence Records had produced spoken-word material by Don McNeill, host of ABC's Don McNeill's Breakfast Club, which Godfrey considered competition to his show. Bleyer and Kovacs were shown in split screen, with Kovacs wearing a red wig, headphones, and playing a ukulele in a Godfrey imitation, while talking with his guest. Kovacs's television programs included Three to Get Ready (an early morning program seen on Philadelphia's WPTZ from 1950 through 1952), It's Time for Ernie (1951, his first network series), Ernie in Kovacsland, (a summer replacement show for Kukla, Fran and Ollie, 1951), The Ernie Kovacs Show (1952–56 on various networks), a twice-a-week job filling in for Steve Allen as host of The Tonight Show on Mondays and Tuesdays (1956–57), and game shows Gamble on Love, One Minute Please, Time Will Tell (all on DuMont), and Take a Good Look (1959–61). Kovacs was also the host of a program, Silents Please, which showed silent movies on network television, with serious discussion about the movies and their actors. Kovacs had a brief stint as a celebrity panelist for the television series What's My Line?, but took his responsibilities less than seriously, often eschewing a legitimate question for the sake of a laugh. An example: Industrialist Henry J. Kaiser, the founder of an automobile company, was the program's "mystery guest." Previous questioning had established that the mystery guest's name was synonymous with an automobile brand, Kovacs asked, "Are you – and this is just a wild guess – but are you Abraham Lincoln?"—a reference to the Ford Motor Company's Lincoln automobiles. When Kovacs gave an interview admitting that he was absent from the show when he wanted to go out for dinner on a Sunday, his stint on the panel show was ended. TV specials He also did several television specials, including the famous Silent Show (1957), featuring his character, Eugene: the first all-pantomime prime-time network program. After the end of the Dean Martin-Jerry Lewis partnership, NBC offered Lewis the opportunity to host his own 90-minute color television special. Lewis opted to use only 60 minutes, leaving the network 30 minutes to fill; no one wanted this time slot, but Kovacs was willing to have it. The program contained no spoken dialogue and contained only sound effects and music. Featuring Kovacs as the mute, Charlie Chaplin-like character "Eugene", the program contained surreal sight gags. Kovacs developed the Eugene character during the autumn of 1956, when hosting the television series The Tonight Show. Expectations were high for the Lewis program, but it was Kovacs' special that received the most attention; Kovacs received his first movie offer, had a cover story in Life magazine, and received the Sylvania Award that year. In 1961, Kovacs and his co-director, Joe Behar, were recipients of the Directors Guild of America Award for a second version of this program broadcast by the American Broadcasting Company network. A series of monthly half-hour specials for ABC during 1961–62 is often considered his best television work. Produced on videotape using new editing and special effects techniques, it won a 1962 Emmy Award. Kovacs and co-director Behar also won the Directors Guild of America award for an Ernie Kovacs Special based on the earlier, silent "Eugene" program. Kovacs' last ABC special was broadcast posthumously, on January 23, 1962. The Dutch Masters cigar company became well-known during the late 1950s and early 1960s for its sponsorship of various television projects of Ernie Kovacs. The company allowed Kovacs total creative control in the creation of their television commercials for his programs and specials. He produced a series of non-speaking television commercials for Dutch Masters during the run of his television series Take A Good Look which was praised by both television critics and viewers. While praised by critics, Kovacs rarely had a highly-rated show. The Museum of Broadcast Communications says, "It is doubtful that Ernie Kovacs would find a place on television today. He was too zany, too unrestrained, too undisciplined. Perhaps Jack Gould of The New York Times said it best for Ernie Kovacs: 'The fun was in trying'." Other shows had greater success while using elements of Kovacs's style. George Schlatter, producer of the later television series Rowan & Martin's Laugh-In, was married to actress Jolene Brand, who had appeared in Kovacs' comic troupes over the years and had been a frequent participant in his pioneering sketches. Laugh-In made frequent use of the quick blackout gags and surreal humor that marked many Kovacs projects. Another link was a young NBC staffer, Bill Wendell, Kovacs's usual announcer and sometimes a sketch participant. From 1980 to 1995, Wendell was the announcer for David Letterman, whose show and style of humor were greatly influenced by Kovacs. The Music Man Kovacs was also known for his eclectic musical taste. His main theme song was named "Oriental Blues" by Jack Newton. The rendition most often heard was a piano-driven trio version, but, for his primetime show during 1956, music director Harry Sosnik presented a full-blown big-band version. The German song "Die Moritat von Mackie Messer" from The Threepenny Opera (anglicized to "Mack the Knife"), frequently underscored his blackout routines. Songwriter Robert Maxwell's "Solfeggio" became associated with the derby-hatted apes, 'The Nairobi Trio'. In the 1982 TV special Ernie Kovacs: Television's Original Genius, Edie Adams recalled that when Kovacs first heard the melody, he immediately knew what he wanted to do with it, creating a music-box-like trio that moved in time to the tune. Kovacs was introduced to the song in 1954 by Barry Shear, his director at DuMont Television Network. Kovacs matched an unusual treatment of "Sentimental Journey", by Mexican bandleader Juan García Esquivel, to video of an empty office in which various items (pencil sharpeners, water coolers, wall clocks) come to life in rhythm with the music; it was a variation on several famous animations of a decade earlier. The original three-minute presentation was outlined by Kovacs in a four-page, single-spaced memo to his staff. The perfectionist Kovacs describes in minute detail what had to be done and how to do it. The memo ends with this: "I don't know how the hell you're going to get this done by Sunday – but 'rots of ruck." (signed) "Ernie (with love)". Kovacs also made careful use of the shrill singer Leona Anderson—who had somewhat less than a classical (or even listenable) voice, by some estimations—in comic vignettes. Kovacs used classical music as background for silent skits or abstract visual routines, including "Concerto for Orchestra", by Béla Bartók; music from the opera "The Love of Three Oranges", by Sergei Prokofiev; the finale of Igor Stravinsky's suite "The Firebird"; and Richard Strauss' "Till Eulenspiegel's Merry Pranks"; and, from George Gershwin, "Rialto Ripples"--the theme to his shows--as well as parts of Gershwin's "Concerto in F". He may have been known best for using Joseph Haydn's "String Quartet, Opus 3, Number 5" (the "Serenade," actually composed by Roman Hoffstetter) for a series of 1960–61 commercials he created and videotaped for his sponsor, Dutch Masters. For the show of May 22, 1959, Kovacs on Music, Kovacs began by saying, "I have never really understood classical music, so I would like to take this opportunity to explain it to others." He presented a gorilla version of Swan Lake which differed from the usual performance only in the persona of the dancers, along with giant paper clips moving to music and other sketches. He also served as host on a jazz album to benefit the American Cancer Society in 1957, Listening to Jazz with Ernie Kovacs. It was a 15-minute recording featuring some of the celebrities of the art, including pianist Jimmy Yancey and old original New Orleans Jazz Trumpeter Bunk Johnson, soprano saxophonist Sidney Bechet, guitarist Django Reinhardt, composer/pianist/bandleader Duke Ellington and longtime Ellington trumpeter Cootie Williams. Both the Library of Congress and the National Library of Canada have copies of this recording in their collections. In print Kovacs wrote a novel, Zoomar: A Sophisticated Novel about Love and TV (Doubleday, 1957), based on television pioneer Pat Weaver; it took Kovacs only 13 days to write. The book took its title from the Zoomar brand zoom lenses frequently used on television cameras at the time. In a 1960 interview, Edie Adams related that the novel was written after Kovacs' experiences with network television while he was preparing to broadcast the Silent Show. The 1961 British edition was retitled T.V. Medium Rare by its London-based publisher, Transworld. While he worked on several other book projects, Kovacs's only other published title was How to Talk at Gin, published posthumously in 1962. He intended part of the book's proceeds to benefit Cedars-Sinai Medical Center. During 1955–58, he wrote for Mad (his favorite humor magazine), including the feature "Strangely Believe It!" (a parody of Ripley's Believe It or Not! that was a regular feature of his television shows) and Gringo, a board game with ridiculously complicated rules that was renamed Droongo for the television show. Kovacs also wrote the introduction to the 1958 collection Mad For Keeps: A Collection of the Best from Mad Magazine. Television guest star Kovacs and Edie Adams guest starred on what turned out to be the final episode of The Lucille Ball-Desi Arnaz Show, (syndicated as The Lucy-Desi Comedy Hour or We Love Lucy) "Lucy Meets the Moustache", which was in rehearsals during the week of February 28 and filmed on March 3 for an April 1, 1960 network broadcast. "Lucy Meets the Moustache" was the last time Arnaz and Ball worked together and the last time their famous characters appeared in a first-run broadcast. According to Adams, Ball and Arnaz 'avoided contact and barely talked to each other in rehearsals and in-between scenes'. Adams also said that they were not told their episode was the last or that the famous couple was to divorce (Ball entered the uncontested divorce request March 4, 1960). Kovacs also appeared in roles on other television programs. For General Electric Theater's "I Was a Bloodhound" in 1959, Kovacs played the role of detective Barney Colby, whose extraordinary sense of smell helped him solve many seemingly-impossible cases. Colby was hired by a foreign country to recover its symbol of royalty, a baby elephant, who was being held for ransom. Films Kovacs found Hollywood success as a character actor, often typecast as a swarthy military officer (almost always a "Captain" of some sort) in such films as Operation Mad Ball, Wake Me When It's Over and Our Man in Havana. While working in his first film role for Operation Mad Ball, Kovacs was filming a wild party scene after midnight; it was decided to use real champagne for realism. After a few hours of work, someone came up to Kovacs and remarked that he had been having quite a good time chasing starlets all night. Kovacs told the stranger to go to hell, since he was following the script; he later learned the stranger was Harry Cohn, head of Columbia Pictures. Kovacs and Cohn later became friends despite the way they had met, with Cohn giving Kovacs roles in Bell, Book and Candle (1958) and It Happened to Jane (1959). He garnered critical acclaim for film roles such as the perennially-inebriated writer in Bell, Book and Candle and as the cartoonishly-evil head of a railroad company (who resembled Orson Welles' title character in Citizen Kane) in It Happened to Jane, where he had his head shaved and his remaining hair dyed grey for the role. In 1960, he played the base commander Charlie Stark in the comedy Wake Me When It's Over and the con man Frankie Cannon trying to steal John Wayne's gold mine in the western comedy, North to Alaska. His own personal favorite was said to have been the offbeat Five Golden Hours (1961), in which he portrayed a larcenous professional mourner who meets his match in a professional widow played by Cyd Charisse. Kovacs's last movie, Sail a Crooked Ship (also 1961), was released one month before his death. Personal life First marriage Kovacs and his first wife, Bette Wilcox, were married on August 13, 1945. When the marriage ended, he fought for custody of their children, Elizabeth ("Bette") and Kip Raleigh ("Kippie"). The court awarded Kovacs full custody upon determining that his former wife was mentally unstable. The decision was extremely unusual at the time, setting a legal precedent. Wilcox subsequently kidnapped the children, taking them to Florida. After a long and expensive search, Kovacs regained custody. These events were portrayed in the television movie Ernie Kovacs: Between the Laughter (1984), which garnered an Emmy Award nomination for its writer, April Smith. Kovacs was portrayed by Jeff Goldblum. Kovacs's first wife made a legal attempt to gain custody of her two daughters soon after his death. She began August 2, 1962, by claiming $500,000 was her share of Kovacs's estate and charging that her ex-husband had abducted the girls in 1955; Kovacs had been granted legal custody of his daughters in 1952. On August 30, Wilcox filed an affidavit claiming that Kovacs's widow, Edie Adams, the stepmother to the girls, was "unfit" to care for them. Both daughters, Bette and Kippie, testified that they wanted to stay with their stepmother, Edie. Kippie's testimony was very emotional; in it she referred to Edie as "Mommy" and her birth mother as "the other lady." Upon hearing the verdict that the girls would remain in their home, Adams wept, saying, "This is what Ernie would have wanted. Now I can smile." Elizabeth Kovacs's reaction was "I'm so happy I can hardly express myself", after learning she and her sister would not be forced to leave Edie. Second marriage Kovacs and Adams met in 1951 when she was hired to work for his WPTZ show, Three to Get Ready. Her appearance on Arthur Godfrey's Talent Scouts caught the eye of Kovacs's producer, and he asked her to audition for the program. A classically-trained singer, she was able to perform only three popular songs. Edie said later, "I sang them all during the audition, and if they had asked to hear another, I never would have made it." Quoting Kovacs, "I wish I could say I was the big shot that hired her, but it was my show in name only – the producer had all the say. Later on I did have something to say and I said it: 'Let's get married.'" After the couple's first date, Kovacs proceeded to buy a Jaguar car, telling Adams he wanted to take her out in style. He was seriously taken with the beautiful and talented young woman, courting her with imagination and flair. Kovacs's attempts to win Adams' affection included hiring a mariachi band to serenade her backstage at the Broadway musical she was performing in and the sudden gift of a diamond engagement ring, telling her to wear it until she made up her mind. Kovacs continued this romantic quest after the show went out of town. Adams booked a six-week European cruise, which she hoped would let her make up her mind whether or not to marry Kovacs. After only three days away and many long-distance telephone calls, she curtailed her trip and returned to say "yes". They eloped and were married on September 12, 1954, in Mexico City. The ceremony was presided over by former New York City mayor William O'Dwyer and was performed in Spanish, which neither Kovacs nor Adams understood; O'Dwyer had to prompt each of them to say "Sí" at the "I do" portion of the vows. Adams, who had a middle-class upbringing, was smitten by Kovacs's quirky ways; the couple remained together until his death. (She later said about Kovacs, "He treated me like a little girl, and I loved it—Women's Lib be damned!") Adams also aided Kovacs's struggle to reclaim his two older children after the kidnapping by their mother. She also was a regular partner on his television shows. Kovacs usually introduced or addressed her in a businesslike way, as "Edith Adams". Adams was usually willing to do anything he envisioned, whether it was singing seriously, performing impersonations (including a well-regarded impression of Marilyn Monroe) or taking a pie in the face or a pratfall if and when needed. The couple had one daughter, Mia Susan Kovacs, born June 20, 1959. Kovacs and his family shared a 16-room apartment in Manhattan on Central Park West that seemed perfect until he went to California for his first film role in Operation Mad Ball. The experience of the totally different, laid-back lifestyle of Hollywood made a big impression on him. He realized he was working too much in New York; in California he would be able to work fewer hours, do just as well or better and have more time for Edie and his daughters. At the time, he was working most of the time and sleeping about two or three hours a night. Kovacs claimed that he realized it was time for a change when he was telling his girls a bedtime story and found himself thinking of using it for a show instead. Kovacs relocated his family there in 1957, after Edie finished work for the Broadway play Li'l Abner. Death In the early morning hours of January 13, 1962, Kovacs lost control of his Chevrolet Corvair station wagon while turning quickly and crashed into a power pole in Beverly Hills. He was thrown halfway out the vehicle's passenger side and died almost instantly from chest and head injuries. A photographer arrived soon after and images of Kovacs' bodywith an unlit cigar on the pavement near his outstretched handappeared in newspapers across the United States. In keeping Kovacs's wishes, a simple service was held at the Beverly Hills Community Presbyterian Church. The pallbearers included Jack Lemmon, Frank Sinatra, Dean Martin, Billy Wilder, and Mervyn LeRoy, and George Burns, Groucho Marx, Edward G. Robinson, Kirk Douglas, Jack Benny, James Stewart, Charlton Heston, Buster Keaton and Milton Berle also attended. The pastor said that Kovacs had summed up his life thus: "I was born in Trenton, New Jersey in 1919 to a Hungarian couple. I've been smoking cigars ever since." He is buried in Forest Lawn-Hollywood Hills Cemetery in Los Angeles. His epitaph reads "Nothing in moderation—We all loved him." Tax evasion A frequent critic of the U.S. tax system, Kovacs owed the Internal Revenue Service several hundred thousand dollars in back taxes, due to his refusal to pay the bulk of them. Up to 90% of his earnings were garnished as a result. His long battles with the IRS inspired Kovacs to invest his money in a convoluted series of paper corporations in the U.S. and Canada. He would give them bizarre names, such as "The Bazooka Dooka Hicka Hocka Hookah Company". In 1961, Kovacs was served with a $75,000 lien for back taxes; that same day he bought the California Racquet Club with the apparent hope of being able to use it as a tax write-off. The property had mortgages at the time of purchase which were later paid by Edie Adams. His tax woes also affected Kovacs's career, forcing him to take any offered work to pay his debt. This included the ABC game show Take a Good Look, appearances on variety shows such as NBC's The Ford Show, Starring Tennessee Ernie Ford, and some of his less-memorable film roles. He also filmed an unaired 1962 pilot episode for a proposed CBS series, Medicine Man (co-starring Buster Keaton; the pilot episode titled "A Pony for Chris"). Kovacs' role was that of Dr. P. Crookshank, a traveling medicine salesman in the 1870s, who was selling Mother McGreevy's Wizard Juice, also known as "man's best friend in a bottle". This was abandoned after his death, which occurred the day after filming some scenes for the pilot in Griffith Park. CBS initially intended to broadcast the show as part of a summer replacement program, The Comedy Spot, but decided against it due to problems with Kovacs' estate. The pilot is part of the public collection of the Paley Center for Media. Some of the issues regarding Kovacs' tax problems were still unresolved years after his death. Kovacs had purchased two insurance policies in 1951; his mother was named as the primary beneficiary of them. The IRS placed a lien against them both for their cash value in 1961. To stop the actions being taken against her, Mary Kovacs had to go to Federal court. The court's early 1966 ruling resolved the issue, with the last sentence of the document reading: "Prima facie, it looks as if, within the limits of discretion permitted the government by the relevant statutes, an injustice is being done Mary Kovacs." Adams, who married and divorced twice after Kovacs' death, refused help from celebrity friends who planned a benefit for the purpose. "I can take care of my own children," she said, and resolved to accept offers only from those who wanted to hire her for her talents. Adams eventually paid all of Kovacs's debts. Lost and surviving work Most of Kovacs's early television work was performed live: few kinescopes have survived. Some videotapes of his ABC specials were preserved; others, such as his quirky game show, Take a Good Look, were available mostly in short segments until recently, with the release of some complete, videotaped episodes. After Kovacs's death, Adams discovered not only that her husband owed ABC a great deal of money, but that some networks were systematically erasing and reusing tapes of Kovacs's shows or disposing of the kinescopes and videotapes. She succeeded in purchasing the rights to surviving footage with the proceeds from Kovacs' insurance policy and her own earnings after Kovacs' IRS debts were paid. In March 1996, Adams detailed her experiences before the National Film Preservation Board. Adams first used some of the videotapes she had purchased for a 1968 ABC television special, The Comedy of Ernie Kovacs; to produce the show, she hired Kovacs's former producer and editor. The hour-long program was sponsored by Kovacs's former sponsor, Dutch Masters. Most of Kovacs's salvaged work is available to researchers at the University of California, Los Angeles Library's Department of Special Collections: additional material is available at the Paley Center for Media. The 1984 television film Ernie Kovacs: Between the Laughter helped return Kovacs to the public's attention, though the show emphasized his bid to retrieve his kidnapped children instead of his professional life. Jeff Goldblum portrayed Kovacs, Madolyn Smith portrayed Bette and Melody Anderson portrayed Adams in the movie. Edie Adams appeared in a cameo in this film, playing Mae West; it was one of the impressions she performed in shows with Kovacs. Telecasts of edited compilations of some of his work by PBS (station WTTW, Chicago) under the title The Best of Ernie Kovacs in 1977, inspired the film. These broadcasts were made available on VHS and DVD. The DVD set features extras that are not in the VHS set. The series was narrated by Jack Lemmon. During the early 1990s, The Comedy Channel broadcast a series of Kovacs' shows under the generic title of The Ernie Kovacs Show. The series included both the ABC specials and some of his 1950s shows from NBC. By 2008, there were no broadcast, cable, or satellite channels broadcasting any of Kovacs's television work, other than his panel appearances on What's My Line? on the Game Show Network. On April 19, 2011, Shout! Factory released The Ernie Kovacs Collection, six DVDs spanning Kovacs's television career. The company's website also offers an extra disc with material from Tonight! and The Ernie Kovacs Show, as well as a rare color kinescope of the complete 30-minute 1957 NBC color broadcast featuring "Eugene". On October 23, 2012, Shout! Factory released The Ernie Kovacs Collection: Volume 2 on DVD. In 1961, Kovacs recorded a record album of poetry in the character of Percy Dovetonsils named Percy Dovetonsils Thpeakth, but was unable to release it due to contractual obligations with other record companies. After he was given the masters, Kovacs donated them to a Los Angeles area hospital. Adams was able to re-acquire the tapes in 1967, and they remained part of her private collection until her death in 2008. The tapes were labeled as movie material and were thought to be such until further examination proved they were Kovacs as Percy reading his poems with no music background. The album was finally released in 2012. Kovacs was inducted posthumously into the Broadcast Pioneers of Philadelphia's Hall of Fame in 1992. Partial filmography Operation Mad Ball (1957) (with Jack Lemmon) as Capt. Paul Lock Bell, Book and Candle (1958) (with James Stewart, Kim Novak, and Jack Lemmon as Sidney Redlitch It Happened to Jane (1959) (with Doris Day and Jack Lemmon) as Harry Foster Malone Our Man in Havana (1959) (with Alec Guinness and Noël Coward) as Capt. Segura Wake Me When It's Over (1960) (with Dick Shawn) as Capt. Charlie Stark Strangers When We Meet (1960) (with Kirk Douglas and Kim Novak) as Roger Altar North to Alaska (1960) (with John Wayne) as Frankie Canon Pepe (1960) (with Cantinflas) as Immigration Inspector Five Golden Hours (1961) (with Cyd Charisse and George Sanders) as Aldo Bondi Sail a Crooked Ship (1961, with Robert Wagner) as Bugsy G. Foglemeyer aka The Captain Notes References Bibliography via Project MUSE Further reading Adams, Edie (1990). Sing a Pretty Song: The "Offbeat" Life of Edie Adams, Including the Ernie Kovacs Years. William Morrow; Barker, David Brian (1982). "Every Moment's a Gift": Ernie Kovacs in Hollywood, 1957–1962, a Master's Thesis. Available for viewing at the library at the University of Texas at Austin Rico, Diana (1990). Kovacsland: A Biography of Ernie Kovacs. Harcourt, Brace & Jovanovich; Walley, David (1975). Nothing in Moderation. Drake Publishers; Reprinted as The Ernie Kovacs Phile by David Walley, Bolder Books, 1978 and Fireside/Simon & Schuster, 1987; External links The Official Ernie Kovacs Website Ernie Kovacs Dot Net: A Tribute To Television's Original Genius Kovacsland Online! – the Ernie Kovacs website List of Kovacs' 16 articles for MAD magazine Watch The Jack Benny Program with Ernie Kovacs as guest at the Internet Archive Operation Mad Ball Trailer (1957) at the Internet Archive John Barbour's documentary Ernie Kovacs: Television's Original Genius at John Barbour's World Ernie Kovacs Dutch Masters Cigar Commercial 1919 births 1962 deaths 20th-century American male actors American people of Hungarian descent American comedy writers American game show hosts American male film actors American male television actors American humorists American satirists American comics writers American television talk show hosts Burials at Forest Lawn Memorial Park (Hollywood Hills) Emmy Award winners Mad (magazine) people Male actors from New Jersey Actors from Trenton, New Jersey Road incident deaths in California Trenton Central High School alumni Writers from Trenton, New Jersey American male comedy actors 20th-century American comedians	true	[ "Tax evasion is an illegal attempt to defeat the imposition of taxes by individuals, corporations, trusts, and others. Tax evasion often entails the deliberate misrepresentation of the taxpayer's affairs to the tax authorities to reduce the taxpayer's tax liability, and it includes dishonest tax reporting, declaring less income, profits or gains than the amounts actually earned, overstating deductions, using bribes against authorities in countries with high corruption rates and hiding money in secret locations.\n\nTax evasion is an activity commonly associated with the informal economy. One measure of the extent of tax evasion (the \"tax gap\") is the amount of unreported income, which is the difference between the amount of income that should be reported to the tax authorities and the actual amount reported.\n\nIn contrast, tax avoidance is the legal use of tax laws to reduce one's tax burden. Both tax evasion and tax avoidance can be viewed as forms of tax noncompliance, as they describe a range of activities that intend to subvert a state's tax system, but such classification of tax avoidance is disputable since avoidance is lawful in self-creating systems. Tax evasion and tax avoidance can both be practiced by corporations, trusts, or individuals.\n\nEconomics\n\nIn 1968, Nobel laureate economist Gary Becker first theorized the economics of crime, on the basis of which authors M.G. Allingham and A. Sandmo produced, in 1972, an economic model of tax evasion. This model deals with the evasion of income tax, the main source of tax revenue in developed countries. According to the authors, the level of evasion of income tax depends on the detection probability and the level of punishment provided by law. Later studies however, pointed limitations of the model, highlighting that individuals are also more likely to comply with taxes when they believe that tax money is appropriately used and when they can take part on public decisions. \n\nThe literature's theoretical models are elegant in their effort to identify the variables likely to affect non-compliance. Alternative specifications, however, yield conflicting results concerning both the signs and magnitudes of variables believed to affect tax evasion. Empirical work is required to resolve the theoretical ambiguities. Income tax evasion appears to be positively influenced by the tax rate, the unemployment rate, the level of income and dissatisfaction with government. The U.S. Tax Reform Act of 1986 appears to have reduced tax evasion in the United States.\n\nIn a 2017 study Alstadsæter et al. concluded based on random stratified audits and leaked data that occurrence of tax evasion rises sharply as amount of wealth rises and that the very richest are about 10 times more likely than average people to engage in tax evasion.\n\nTax gap \nThe tax gap describes how much tax should have been raised in relation to much tax is actually raised. \n\nThe tax gap is mainly growing due to two factors, the lack of enforcement on the one hand and the lack of compliance on the other hand. The former is mainly rooted in the costly enforcement of the taxation law. The Iatter is based on the foundation that tax compliance is costly for individuals as well as firms (tax filling, bureaucracy), hence not paying taxes would be more economical in their opinion.\n\nEvasion of customs duty\nCustoms duties are an important source of revenue in developing countries. Importers attempt to evade customs duty by (a) under-invoicing and (b) misdeclaration of quantity and product-description. When there is ad valorem import duty, the tax base can be reduced through under-invoicing. Misdeclaration of quantity is more relevant for products with specific duty. Production description is changed to match a H. S. Code commensurate with a lower rate of duty.\n\nSmuggling\nSmuggling is import or export of products by illegal means. Smuggling is resorted to for total evasion of customs duties, as well as for the import and export of contraband. Smugglers do not pay duty since the transport is covert, so no customs declaration is made.\n\nEvasion of value-added tax and sales taxes\n\nDuring the second half of the 20th century, value-added tax (VAT) emerged as a modern form of consumption tax throughout the world, with the notable exception of the United States. Producers who collect VAT from consumers may evade tax by under-reporting the amount of sales. The US has no broad-based consumption tax at the federal level, and no state currently collects VAT; the overwhelming majority of states instead collect sales taxes. Canada uses both a VAT at the federal level (the Goods and Services Tax) and sales taxes at the provincial level; some provinces have a single tax combining both forms.\n\nIn addition, most jurisdictions which levy a VAT or sales tax also legally require their residents to report and pay the tax on items purchased in another jurisdiction. This means that consumers who purchase something in a lower-taxed or untaxed jurisdiction with the intention of avoiding VAT or sales tax in their home jurisdiction are technically breaking the law in most cases.\n\nThis is especially prevalent in federal countries like the US and Canada where sub-national jurisdictions charge varying rates of VAT or sales tax.\n\nIn liberal democracies, a fundamental problem with inhibiting evasion of local sales taxes is that liberal democracies, by their very nature, have few (if any) border controls between their internal jurisdictions. Therefore, it is not generally cost-effective to enforce tax collection on low-value goods carried in private vehicles from one jurisdiction to another with a different tax rate. However, sub-national governments will normally seek to collect sales tax on high-value items such as cars.\n\nDennis Kozlowski is a particularly notable figure for his alleged evasion of sales tax. What started as an investigation into Kozlowski's failure to declare art purchases for the purpose of evading New York state sales taxes eventually led to Kozlowski's conviction and incarceration on more serious charges related to the misappropriation of funds during his tenure as CEO of Tyco International.\n\nObjectives to evade taxes \nOne reason for taxpayers to evade taxes are the personal benefits that come with it, thus the individual problems that lead to that decision Additionally, Wallschutzky's ‘exchange relationship hypothesiss’ presents as a sufficient motive for many. The exchange relationship hypothesis states that tax payers believe that the exchange between their taxes and the public good/social services as unbalanced. Furthermore, the little capability of the system to catch the tax evaders poses as another incentive. Most often, it is more economical to evade taxes, being caught and paying a fine as a consequence, than paying the accumulated tax burden over the years. Thus, evasion numbers should be even higher than they are, hence for many people there seem to be moral objective countering this practice.\n\nGovernment response\n\nThe level of evasion depends on a number of factors, including the amount of money a person or a corporation possesses. Efforts to evade income tax decline when the amounts involved are lower. The level of evasion also depends on the efficiency of the tax administration. Corruption by tax officials make it difficult to control evasion. Tax administrations use various means to reduce evasion and increase the level of enforcement: for example, privatization of tax enforcement or tax farming.\n\nIn 2011 HMRC, the UK tax collection agency, stated that it would continue to crack down on tax evasion, with the goal of collecting £18 billion in revenue before 2015. In 2010, HMRC began a voluntary amnesty program that targeted middle-class professionals and raised £500 million.\n\nCorruption by tax officials\nCorrupt tax officials co-operate with the taxpayers who intend to evade taxes. When they detect an instance of evasion, they refrain from reporting it in return for bribes. Corruption by tax officials is a serious problem for the tax administration in many countries.\n\nLevel of evasion and punishment\nTax evasion is a crime in almost all developed countries, and the guilty party is liable to fines and/or imprisonment. In Switzerland, many acts that would amount to criminal tax evasion in other countries are treated as civil matters. Dishonestly misreporting income in a tax return is not necessarily considered a crime. Such matters are handled in the Swiss tax courts, not the criminal courts.\n\nIn Switzerland, however, some tax misconduct (such as the deliberate falsification of records) is criminal. Moreover, civil tax transgressions may give rise to penalties. It is often considered that the extent of evasion depends on the severity of punishment for evasion.\n\nPrivatization of tax enforcement\n\nProfessor Christopher Hood first suggested privatization of tax enforcement to control tax evasion more efficiently than a government department would, and some governments have adopted this approach. In Bangladesh, customs administration was partly privatized in 1991.\n\nAbuse by private tax collectors (see tax farming below) has on occasion led to revolutionary overthrow of governments who have outsourced tax administration.\n\nTax farming\n\nTax farming is an historical means of collection of revenue. Governments received a lump sum in advance from a private entity, which then collects and retains the revenue and bears the risk of evasion by the taxpayers. It has been suggested that tax farming may reduce tax evasion in less developed countries.\n\nThis system may be liable to abuse by the \"tax-farmers\" seeking to make a profit, if they are not subject to political constraints. Abuses by tax farmers (together with a tax system that exempted the aristocracy) were a primary reason for the French Revolution that toppled Louis XVI.\n\nPSI agencies\nPre-shipment inspection agencies like Société Générale De Surveillance S. A. and its subsidiary Cotecna are in business to prevent evasion of customs duty through under-invoicing and misdeclaration.\n\nHowever, PSI agencies have cooperated with importers in evading customs duties. Bangladeshi authorities found Cotecna guilty of complicity with importers for evasion of customs duties on a huge scale. In August 2005, Bangladesh had hired four PSI companies – Cotecna Inspection SA, SGS (Bangladesh) Limited, Bureau Veritas BIVAC (Bangladesh) Limited and INtertek Testing Limited – for three years to certify price, quality and quantity of imported goods. In March 2008, the Bangladeshi National Board of Revenue cancelled Cotecna's certificate for serious irregularities, while importers' complaints about the other three PSI companies mounted. Bangladesh planned to have its customs department train its officials in \"WTO valuation, trade policy, ASYCUDA system, risk management\" to take over the inspections.\n\nCotecna was also found to have bribed Pakistan's prime minister Benazir Bhutto to secure a PSI contract by Pakistani importers. She and her husband were sentenced both in Pakistan and Switzerland.\n\nBy continent\n\nAsia\n\nUnited Arab Emirates\nIn early October 2021, 11.9 million leaked financial records in addition to 2.9 TB of data was released in the name of Pandora Papers by the International Consortium of Investigative Journalists (ICIJ), exposing the secret offshore accounts of around 35 world leaders in tax havens to evade taxes. One of the many leaders to be exposed was the ruler of Dubai and prime minister of the United Arab Emirates, Sheikh Mohammed bin Rashid al-Maktoum. Sheikh Mohammed was identified as the shareholder of three firms that were registered in the tax havens of Bahamas and British Virgin Islands through an Emirati company, partially owned by an investment conglomerate, Dubai Holding and Axiom Limited, major shares of which were owned by the ruler.\n\nAs per the leaked records, the Dubai ruler owned a massive number of upmarket and luxurious real estate across Europe via the cited offshore entities registered in tax havens.\n\nAdditionally, the Pandora Papers also cites that the former Managing Director of IMF and French finance minister, Dominique Strauss-Kahn was permitted to create a consulting firm in the United Arab Emirates in 2018 after the expiry of tax exemptions of his Moroccan company, which he used for receiving millions of dollars worth of tax free consulting fees.\n\nEurope\n\nGermany, France, Italy, Denmark, Belgium\n\nA network of banks, stock traders and top lawyers has obtained billions from the European treasuries through suspected fraud and speculation with dividend tax. The five hardest hit countries have lost together at least $62.9 billion. Germany is the hardest hit country, with around €31 billion withdrawn from the German treasury. Estimated losses for other countries include at least €17 billion for France, €4.5 billion in Italy, €1.7 billion in Denmark and €201 million for Belgium.\n\nGreece\n\nScandinavia\nA paper by economists Annette Alstadsæter, Niels Johannesen and Gabriel Zucman, which used data from HSBC Switzerland (“Swiss leaks”) and Mossack Fonseca (“Panama Papers”), found that \"on average about 3% of personal taxes are evaded in Scandinavia, but this figure rises to about 30% in the top 0.01% of the wealth distribution... Taking tax evasion into account increases the rise in inequality seen in tax data since the 1970s markedly, highlighting the need to move beyond tax data to capture income and wealth at the top, even in countries where tax compliance is generally high. We also find that after reducing tax evasion—by using tax amnesties—tax evaders do not legally avoid taxes more. This result suggests that fighting tax evasion can be an effective way to collect more tax revenue from the ultra-wealthy.\"\n\nUnited Kingdom\n\nHMRC, the UK tax collection agency, estimated that in the tax year 2016–17, pure tax evasion (i.e. not including things like hidden economy or criminal activity) cost the government £5.3 billion. This compared to a wider tax gap (the difference between the amount of tax that should, in theory, be collected by HMRC, against what is actually collected) of £33 billion in the same year, an amount that represented 5.7% of liabilities. At the same time, tax avoidance was estimated at £1.7 billion (this does not include international tax arrangements that cannot be challenged under the UK law, including some forms of base erosion and profit shifting (BEPS)).\n\nIn 2013, the Coalition government announced a crackdown on economic crime. It created a new criminal offence for aiding tax evasion and removed the requirement for tax investigation authorities to prove \"intent to evade tax\" to prosecute offenders.\n\nIn 2015, Chancellor George Osborne promised to collect £5bn by \"waging war\" on tax evaders by announcing new powers for HMRC to target people with offshore bank accounts. The number of people prosecuted for tax evasion doubled in 2014/15 from the year before to 1,258.\n\nUnited States\n\nIn the United States of America, Federal tax evasion is defined as the purposeful, illegal attempt to evade the assessment or the payment of a tax imposed by federal law. Conviction of tax evasion may result in fines and imprisonment.\n\nThe Internal Revenue Service (IRS) has identified small businesses and sole proprietors as the largest contributors to the tax gap between what Americans owe in federal taxes and what the federal government receives. Small businesses and sole proprietorships contribute to the tax gap because there are few ways for the government to know about skimming or non-reporting of income without mounting significant investigations.\n\n the most common means of tax evasion was overstatement of charitable contributions, particularly church donations.\n\nEstimates of lost government revenue\nThe IRS estimates that the 2001 tax gap was $345 billion and for 2006 it was $450 billion. A study of the 2008 tax gap found a range of $450–$500 billion, and unreported income to be about $2 trillion, concluding that 18 to 19 percent of total reportable income was not being properly reported to the IRS.\n\nTax evasion and inequality \nGenerally, individuals tend to evade taxes, while companies rather avoid taxes. There is a great heterogenic among people who evade people as it is a substantial issue in society, that is creating an excessive tax gap. Studies suggest that the 8% of global financial wealth lies in offshore accounts. Often, offshore wealth that is stored in tax havens stays undetected in random audits. Even though there is high diversity among people who evade taxes, there is a higher probability among the highest wealth group. According to Alstadsæter, Johannesen and Zucman 2019 the extend of taxes evaded is substantially higher with higher income, and exceptionally higher among people of the top wealth group. In line with this, the probability to appear in the Panama Papers rises significantly among the top 0.01% of the wealth group, as does the probability to own an unreported account at HSBC. However, the upper wealth group is also more inclined to use tax amnesty.\n\nSee also\n\nFurther reading\n\n Slemrod, Joel. 2019. \"Tax Compliance and Enforcement.\" Journal of Economic Literature, 57 (4): 904–54.\nEmmanuel Saez and Gabriel Zucman. 2019. The Triumph of Injustice: How the Rich Dodge Taxes and How to Make Them Pay. W.W. Norton.\n\nReferences\n\nExternal links\n\nTax Evasion and Fraud collected news and commentary at The Economist\n\nEmployment Tax Evasion Schemes common employment schemes at IRS\n\nUnited States\n US Justice Dept press release on Jeffrey Chernick, UBS tax evader\n US Justice Tax Division and its enforcement efforts\n\n \nInformal economy", "Under the federal law of the United States of America, tax evasion or tax fraud, is the purposeful illegal attempt of a taxpayer to evade assessment or payment of a tax imposed by Federal law. Conviction of tax evasion may result in fines and imprisonment. Compared to other countries, Americans are more likely to pay their taxes fairly, honestly, and on time.\n\nTax evasion is separate from tax avoidance, which is the legal utilization of the tax regime to one's own advantage in order to reduce the amount of tax that is payable by means that are within the law. For example, a person can legally avoid some taxes by refusing to earn more taxable income, or by buying fewer things subject to sales taxes. Tax evasion is illegal, while tax avoidance is legal.\n\nIn Gregory v. Helvering the US Supreme Court concurred with Judge Learned Hand's statement that: \"Any one may so arrange his affairs that his taxes shall be as low as possible; he is not bound to choose that pattern which will best pay the Treasury; there is not even a patriotic duty to increase one's taxes.\" However, the court also ruled there was a duty not to illegally distort the tax code so as to evade paying one's legally required tax burden.\n\nDefinition\n\nThe U.S. Internal Revenue Code, 26 United States Code section 7201, provides:\n\nSec. 7201. Attempt to evade or defeat tax\n\nAny person who willfully attempts in any manner to evade or defeat any tax imposed by this title or the payment thereof shall, in addition to other penalties provided by law, be guilty of a felony and, upon conviction thereof, shall be fined not more than $100,000 ($500,000 in the case of a corporation), or imprisoned not more than 5 years, or both, together with the costs of prosecution.\n\nTo prove a violation of the statute, the prosecutor must show (1) the existence of a tax deficiency (an unpaid federal tax), (2) an affirmative act constituting an evasion or attempted evasion of either the assessment or payment of that tax, and (3) willfulness (connoting the voluntary, intentional violation of a known legal duty).\n\nA genuine, good faith belief that one is not violating the Federal tax law based on a misunderstanding caused by the complexity of the tax law is a defense to a charge of \"willfulness\", even though that belief is irrational or unreasonable. A belief that the Federal income tax is invalid or unconstitutional is not a misunderstanding caused by the complexity of the tax law, and is not a defense to a charge of \"willfulness\", even if that belief is genuine and is held in good faith.\n\nOccurrence \nNearly all Americans believe that cheating on taxes is morally and ethically unacceptable. The voluntary compliance rate (a technical measurement of taxes being paid both on time and voluntarily) in the US is generally around 81 to 84%. This is one of the highest rates in the world. By contrast, Germany's voluntary compliance rate is 68%, and Italy's is 62%.\n\nThe Internal Revenue Service (IRS) has identified small business and sole proprietorship employees as the largest contributors to the tax gap between what Americans owe in federal taxes and what the federal government receives. Small business and sole proprietorship employees contribute to the tax gap because there are few ways for the government to know about skimming or non-reporting of income without mounting more significant investigations.\n\nThe willful failures to report tips, income from side-jobs, other cash receipts, and barter income items are examples of illegal cheating. Similarly, those persons who are self-employed (or who run small businesses) evade the assessment or payment of taxes if they intentionally fail to report income. One study suggested that the fact that sharing economy firms like Airbnb, Lyft, and Etsy do not file 1099-K forms when participants earn less than $20,000 and have fewer than 200 transactions, results in significant unreported income. A recent survey found that the amount of unreported income for 2016 in the United States numbered at US $214.6 billion, with one in four Americans not reporting the money made on side-jobs.\n\nThe typical tax evader in the United States is a male under the age of 50 in the highest tax bracket and with a complicated return, and the most common means of tax evasion is overstatement of charitable contributions, particularly church donations.\n\nForeign tax havens \n\nJurisdictions which allow for limiting taxation, known as tax havens, may be used for both legally avoiding taxes and illegally evading taxes. In 2010, the Foreign Account Tax Compliance Act was passed to better enforce taxation in foreign jurisdictions.\n\nIllegal income\n\nU.S. citizens are required to report unlawful gains as income when filing annual tax returns (see e.g., James v. United States) although such income is typically not reported. Suspected lawbreakers, most famously Al Capone, have been successfully prosecuted for tax evasion when there was insufficient evidence to try them for their non-tax related crimes. Reporting illegal income as earned legitimately may be illegal money laundering.\n\nEstimates of lost government revenue \n\nIn the United States, the IRS estimate of the 2001 tax gap was $345 billion. For 2006, the tax gap is estimated to be $450 billion.\n\nA more recent study estimates the 2008 tax gap in the range of $450 to $500 billion, and unreported income to be approximately $2 trillion. Thus, 18 to 19 percent of total reportable income is not properly reported to the IRS.\n\nMeasurement \n\nBeginning in 1963 and continuing every 3 years until 1988, the IRS analyzed 45,000 to 55,000 randomly selected households for a detailed audit as part of the Taxpayer Compliance Measurement Program (TCMP) in an attempt to measure unreported income and the \"tax gap\". The program was discontinued in part due to its intrusiveness, but its estimates continued to be used as assumptions. In 2001, a modified random-sampling initiative called the National Research Program was used to sample 46,000 individual taxpayers and the IRS released updated estimates of the tax gap in 2005 and 2006. However, critics point out numerous problems with the tax gap measure. The IRS direct audit measures of noncompliance are augmented by indirect measurement methods, most prominently currency ratio models\n\nAfter the TCMP audits, the IRS focused on two groups of taxpayers: those with just a small change in the balance due, and those with a large (over $400) change in the balance due. Taxpayers were further partitioned into \"nonbusiness\" and \"business\" groups and each group was divided into five classes based on total positive income. Using line items from the auditor's checksheet, discriminant analysis, and a scoring mechanism, each return was awarded a score, known as a \"Z-score\". Higher Z-scores were associated by IRS personnel with a higher risk of tax evasion. However, the Discriminant Index Function (DIF) system did not provide examiners with specific problematic variables or reasons for the high score and so each filing had to be manually examined by an auditor.\n\nInvestigatory procedures \nThe IRS may carry out investigations to determine the correctness of any tax return and collect necessary income tax, including requiring the taxpayer to provide specific information such as books, records, and papers. The IRS whistleblower award program was created to assist the IRS in obtaining necessary information. While these investigations can lead to criminal prosecution, the IRS itself has no power to prosecute crimes. The IRS can only impose monetary penalties and require payment of proper tax due. The IRS performs audits on suspicion of noncompliance but has also historically performed randomly selected audits to estimate total noncompliance; the former audits have much higher chance of noncompliance.\n\nNet worth and cash expenditure methods of proof\nUnder the net worth and cash expenditure methods of proof, the IRS performs year-by-year-by-year comparisons of net worth and cash expenditures to identify under reporting of net worth. While the net worth method and the cash accrual method may be used separately, they are often used in conjunction with one another. Under the net worth method, the IRS chooses a year to determine the taxpayer's opening net worth at year's end. This provides a snapshot of the taxpayer's net worth at a particular point in time.\n\nThe snapshot includes the taxpayer's cash on hand, bank accounts, brokerage (stocks and bonds), house, cars, beach house, jewelry, furs, and other similar items. Generally the IRS learns about these items through very thorough and in-depth investigations, sometimes casing the suspected fraudulent taxpayer. In addition, the IRS also assesses the taxpayer's liabilities. Liabilities include expenses such as the taxpayer's mortgage, car loans, credit card debts, student loans, and personal loans. The opening net worth is the most critical point at which the IRS must assess the taxpayer's assets and liabilities. Otherwise, the net worth comparison will be inaccurate.\n\nThe IRS then evaluates new debts and liabilities accumulated in the next year, and assesses the taxpayer's new net worth at the next year's end. In addition, the IRS reviews the taxpayer's cash expenditures throughout the tax year. The IRS then compares the increase in net worth and the cash expenditures with the reported taxable income over time in order to determine the legitimacy of the taxpayer's reported income.\n\nThe net worth method was first used in the case of Capone v. United States. The cash method was approved in 1989 in United States v. Hogan.\n\nBank deposit cash expenditure method\nFirst approved by the Eighth Circuit in 1935 in Gleckman v. United States, the bank deposit cash expenditure method identifies tax evasion through review of the taxpayer's bank deposits. This method of investigation primarily focuses on whether the taxpayer's total bank deposits throughout the year are equal to the taxpayer's reported income. This method is most appropriate when the majority of the taxpayer's income is deposited in the bank and most expenses are paid by check.\n\nThis method is most commonly used for surveillance of tipped employees and is combined with statistical analysis to determine what a tipped employees actual wages are. Information gathered through this method is most successful when the credibility of tipped employees can be destroyed. This method is used less frequently now for tipped employees because the IRS negotiates with hotels or casinos, the largest employers of tipped employees, to identify a tip estimate. If the tipped employee reports the minimal amount agreed upon, he is not questioned by the IRS. However, it is recommended for corroborating other methods of proof. Given the uncertainty of this method, this method likely could not be used in criminal prosecutions where the guilt must be found beyond a reasonable doubt.\n\nWhistleblower program\nIn addition to the methods of proof the IRS has developed, the Tax Relief and Health Care Act of 2006 created the IRS Whistleblower Office, which allows anonymous whistle blowers to receive 15 to 30 percent of any recovery by the IRS which comes to at least $2 million including all penalties, interests and any other monies collected from the government. The whistle blower program seeks information based on evidence and analysis which can provide a solid basis for further investigation rather than speculation and hearsay.\n\nThe program is designed to provide incentive to ordinary citizens to inform on tax cheats. The program provides far greater incentives for whistle blowers than previous programs because under prior programs the government was not required to compensate whistleblowers. Under this program, a taxpayer may file a lawsuit in court if he or she does not receive a deserved award.\n\nHistorical U.S. tax evasion cases\n\nThe IRS publishes the number of civil and criminal penalties in the IRS Data Book (IRS Publication 55B) and makes these available online. Table 17 shows tabulated data on civil penalties and Table 18 shows data on criminal investigations. In 2012, the IRS assessed civil penalties in 37,910,493 cases and 4,994,926 abatements. In 2012, the IRS initiated 5,125 investigations; of 3,701 which were referred to prosecution, 2,634 resulted in conviction. The agency also highlights current investigations on its website by various categories, including abusive returns, tax schemes, corporate fraud, money laundering, and various other categories.\n 1932–1939: Al Capone served seven years of an 11-year sentence in federal prison on Alcatraz Island for tax evasion. He was let out of jail early while suffering with the advanced stages of syphilis.\n 1933: Gangster Dutch Schultz was indicted for tax evasion. Rather than face the charges, he went into hiding.\n U.S. President Harry Truman pardoned George Caldwell, George Berham Parr, and Seymour Weiss for income tax evasion.\n 1963: Joe Conforte, a brothel owner, served two and a half years in prison, convicted for the crime of income tax evasion.\n 1971: Martin B. McKneally (R-NY) was placed on one-year probation and fined $5,000 for failing to file income tax return. He had not paid taxes for many years prior.\n 1972: Cornelius Gallagher (D-NJ) pleaded guilty to tax evasion, and served two years in prison.\n 1974: Otto Kerner Jr. (D) - Resigned as a judge of the Federal Seventh Circuit Court District after conviction for bribery, mail fraud, and tax evasion while Governor of Illinois. He was sentenced to 3 years in prison and fined $50,000.\n 1982: Frederick W. Richmond (D-NY) was convicted of tax evasion and possession of marijuana. Served 9 months\n 1985: Joseph Alioto, a lawyer, confessed that he paid no income taxes during the years he served as Mayor of San Francisco.\n 1985–1986: Iran–Contra Affair - Thomas G. Clines was convicted of four counts of tax-related offenses for failing to report income from the operations.\n 1987: Robert Bernard Anderson (R) former United States Secretary of Treasury (1957–1961) pleaded guilty to tax evasion while operating an offshore bank.\n 1986: Harry Claiborne, Federal District court Judge from Nevada, was impeached by the House and convicted by the Senate on two counts of tax evasion. He served over a year in prison.\n 1990: Howard Snyder purchased $3.35 million worth of chips in the Trump Taj Mahal and left without paying a single game resulting in a $65,000 fine.\n 1991: Harry Mohney, founder of the Déjà Vu strip club chain, began to serve three years in prison for tax evasion.\n \"Matty the Horse\" Ianniello (Mafia) was sent to prison for income tax evasion.\n 1992: Catalina Vasquez Villalpando (R), Treasurer of the United States, pleads guilty to obstruction of justice and tax evasion.\n 1993: Sam Roti, nephew of Chicago alderman Fred Roti, was indicted on Federal tax charges, which were later dropped.\n Nicolas Castronuovo is the owner of the Florida pizza parlor where Senator Robert Torricelli was caught on an FBI wiretap soliciting contributions in 1996. Nicolas Castronuovo and his grandson Nicholas Melone later pleaded guilty to evading the government of $100,000 in taxes.\n 1995: Webster Hubbell, (D) Associate Attorney General, pleaded guilty to mail fraud and tax evasion. He is sentenced to 21 months in prison.\n 1996: Heidi Fleiss was convicted of federal charges of tax evasion and sentenced to 7 years in prison. After two months, she was released to a halfway house, with an order to undergo 370 hours of community service.\n 2001: U.S. President Bill Clinton pardoned Marc Rich and Pincus Green, indicted by U.S. Attorney on charges of tax evasion and illegal trading with Iran. Clinton also pardons Edward Downe, Jr., for wire fraud, filing false income tax returns, and securities fraud.\n 2002: James Traficant (D-OH) was convicted of ten felony counts including bribery, racketeering and tax evasion He was sentenced to 8 years in prison.\n 2002: The Christian Patriot Association, an \"ultra-right-wing group\", was shut down after convictions for tax fraud and tax evasion.\n 2005: Duke Cunningham (R-CA) pleaded guilty to charges of conspiracy to commit bribery, mail fraud, wire fraud and tax evasion in what came to be called the Cunningham scandal. He was sentenced to eight years in prison.\n 2006: Jack Abramoff, lobbyist, was found guilty of conspiracy, tax evasion and corruption of public officials in three different courts in a wide-ranging investigation. He was sentenced to 70 months in prison and fined $24.7 million\n 2008: Charles Rangel (D-NY) failed to report $75,000 income from the rental of his villa in Punta Cana in the Dominican Republic and was ordered to pay $11,000 in back taxes. The House of Representatives voted 333–79 to censure Rangel. It had been 27 years since the last such measure and Rangel was only the 23rd House member to be censured.\n 2008: Senator Ted Stevens (R-AK) was convicted on 7 counts of bribery and tax evasion just prior to the election. He continued his run for re-election, but lost. However, prior to sentencing, the indictment was dismissed—effectively vacating the conviction—when a Justice Department probe found evidence of gross prosecutorial misconduct.\n 2013: Big Four accounting firm Ernst & Young agreed to pay federal prosecutors $123 million to settle criminal tax avoidance charges stemming from $2 billion in unpaid taxes from about 200 wealthy individuals advised by four Ernst & Young senior partners between 1999 and 2004.\n\nReferences\n\nFurther reading \n Cebula, R., & Foley, M. (2013). Teaching the Economics of Income Tax Evasion, MPRA Paper 56784, University Library of Munich, Germany.\n Johannesen, Niels, Patrick Langetieg, Daniel Reck, Max Risch, and Joel Slemrod. 2020. \"Taxing Hidden Wealth: The Consequences of US Enforcement Initiatives on Evasive Foreign Accounts.\" American Economic Journal: Economic Policy, 12 (3): 312-46.\n\nExternal links\n US Justice Dept press release on Jeffrey Chernick, UBS tax evader\n US Justice Tax Division and its enforcement efforts\n\n \nTaxation in the United States\nInternal Revenue Service" ]

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