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[ "August Strindberg", "Politics", "What were Strindberg's political views?", "embraced the view, that politics is a conflict between the upper and lower classes." ]	C_1766e31fc8054f9d84ac10183e72adc5_0	Did he write about his views?	2	Did Strindberg write about his views?	August Strindberg	Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens. The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books. In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle. His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER	over the years, and he was never primarily a political writer.	Johan August Strindberg (, ; 22 January 184914 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement. During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as The Ghost Sonata). Biography Youth Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September. Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling. 1870s Strindberg returned to Uppsala University in January 1870 to study aesthetics and modern languages and to work on a number of plays. It was at this time that he first learnt about the ideas of Charles Darwin. He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from runes of the ancient Teutonic alphabet – Strindberg called himself Frö (Seed), after the god of fertility. After abandoning a draft of a play about Eric XIV of Sweden halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called In Rome about Bertel Thorvaldsen, which he had begun the previous autumn. The play was accepted by the Royal Theatre, where it premièred on 13 September 1870. As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable. That year he also first read works of Søren Kierkegaard and Georg Brandes, both of whom influenced him. Taking his cue from William Shakespeare, he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse. During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, Sven the Sacrificer, as a one-act play in prose called The Outlaw. Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on Adam Gottlob Oehlenschläger's Romantic tragedy Earl Haakon (1802). Following further revision in the summer, The Outlaw opened at the Royal Theatre on 16 October 1871. Despite hostile reviews, the play earned him an audience with King Charles XV, who supported his studies with a payment of 200 riksdaler. Towards the end of the year Strindberg completed a first draft of his first major work, a play about Olaus Petri called Master Olof. In September 1872, the Royal Theatre rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions. Returning to the university for what would be his final term in the spring, he left on 2 March 1872, without graduating. In Town and Gown (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors. Strindberg embarked on his career as a journalist and critic for newspapers in Stockholm. He was particularly excited at this time by Henry Thomas Buckle's History of Civilization and the first volume of Georg Brandes' Main Currents of Nineteenth-Century Literature. From December 1874, Strindberg worked for eight years as an assistant librarian at the Royal Library. That same month, Strindberg offered Master Olof to Edvard Stjernström (the director of the newly built New Theatre in Stockholm), but it was rejected. He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in Bern's Restaurant. Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiring actress who, by virtue of her husband, was a baroness – he became infatuated with her. Strindberg described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent." As a result of an argument in January 1876 concerning the inheritance of the family firm, Strindberg's relationship with his father was terminated (he did not attend his funeral in February 1883). From the beginning of 1876, Strindberg and Siri began to meet in secret, and that same year Siri and her husband divorced. Following a successful audition that December, Siri became an actress at the Royal Theatre. They married a year later, on 30 December 1877; Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later. On 9 January 1879, Strindberg was declared bankrupt. In November 1879, his novel The Red Room was published. A satire of Stockholm society, it has frequently been described as the first modern Swedish novel. While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg was hailed as a genius. As a result of The Red Room, he had become famous throughout Scandinavia. Edvard Brandes wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction." In his response to Brandes, Strindberg explained that: 1880s Strindberg and Siri's daughter Karin was born on 26 February 1880. Buoyant from the reception of The Red Room, Strindberg swiftly completed The Secret of the Guild, an historical drama set in Uppsala at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the Royal Theatre on 3 May 1880 (his first première in nine years); Siri played Margaretha. That spring he formed a friendship with the painter Carl Larsson. A collected edition of all of Strindberg's previous writings was published under the title Spring Harvest. From 1881, at the invitation of Edvard Brandes, Strindberg began to contribute articles to the Morgenbladet, a Copenhagen daily newspaper. In April he began work on The Swedish People, a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations. At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again. Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of Kymmendö. That month, a collection of essays from the past ten years, Studies in Cultural History, was published. Ludvig Josephson (the new artistic director of Stockholm's New Theatre) agreed to stage Master Olof, eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of August Lindberg to favourable reviews. While this production of Master Olof was his breakthrough in the theatre, Strindberg's five-act fairy-tale play Lucky Peter's Journey, which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a potboiler. In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season. Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of anti-establishment short stories, The New Kingdom. While there, to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll's House (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882 at the New Theatre. He moved to Grez-sur-Loing, just south of Paris, France, where Larsson was staying. He then moved to Paris, which they found noisy and polluted. Income earned from Lucky Peter's Journey enabled him to move to Switzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans. In 1884 Strindberg wrote a collection of short stories, Getting Married, that presented women in an egalitarian light and for which he was tried for and acquitted of blasphemy in Sweden. Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that Queen Sophia was behind it. By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit. No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up." In May 1885 he wrote: "I am on my way to becoming an atheist." In the wake of the publication of Getting Married, he began to correspond with Émile Zola. During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first. Another collection of stories, Utopias in Reality, was published in September 1885, though it was not well received. In 1885, they moved back to Paris. In September 1887 he began to write a novel in French about his relationship with Siri von Essen called The Defence of a Fool. In 1887, they moved to Issigatsbühl, near Lindau by Lake Constance. His next play, Comrades (1886), was his first in a contemporary setting. After the trial he evaluated his religious beliefs, and concluded that he needed to leave Lutheranism, though he had been Lutheran since childhood; and after briefly being a deist, he became an atheist. He needed a credo and he used Jean-Jacques Rousseau nature worshiping, which he had studied while a student, as one. His works The People of Hemsö (1887) and Among French Peasants (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with Chancellor Otto von Bismarck's Prussia status of the officer corps. After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and By the Open Sea (1890). Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began The Son of a Servant, a four-part autobiography. The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or The Red Room, describes his years as a poet and journalist; it ends with his meeting Siri von Essen. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when Strindberg was wooing von Essen and their marriage; entitled He and She, this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period. In the later half of the 1880s Strindberg discovered Naturalism. After completing The Father in a matter of weeks, he sent a copy to Émile Zola for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing The Father, Strindberg himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in Copenhagen. While there he had several opportunities to meet with both Georg Brandes and his brother Edvard Brandes. Georg helped him put on The Father, which had its première on 14 November 1887 at the Casino Theatre in Copenhagen. It enjoyed a successful run for eleven days after which it toured the Danish provinces. Before writing Creditors, Strindberg completed one of his most famous pieces, Miss Julie. He wrote the play with a Parisian stage in mind, in particular the Théâtre Libre, founded in 1887 by André Antoine. In the play he used Charles Darwin's theory of survival of the fittest and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of Strindberg, the son of a servant, to an aristocratic woman. In the essay On Psychic Murder (1887), he referred to the psychological theories of the Nancy School, which advocated the use of hypnosis. Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as Creditors (1889), The Stronger (1889), and Pariah (1889). In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from Herman Bang, Gustav Wied and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native Finland with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of The Bond and the Link (1893). Strindberg also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was The Stronger (1889). As a result of the failure of the Scandinavian Experimental Theatre, Strindberg did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works. August Strindberg's Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In Strindberg och alkoholen (1985), James Spens discusses Strindberg's drinking habits, including his liking for absinthe and its possible implications for Strindberg's mental health during the inferno period. 1890s After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. Symbolism was just beginning at this time. Verner von Heidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), and The First Warning (1893). His play The Keys of Heaven (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, Playing with Fire (1893), and the first two parts of his post-inferno trilogy To Damascus (1898–1904). In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. Otto Brahm's Freie Bühne theatre premiered some of his famous works in Germany, including The Father, Miss Julie, and Creditors. Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me." Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work. "The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life. Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907). 1900s Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including The Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays. In 1903, Strindberg planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about Martin Luther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical drama in 1908 after the Royal Theatre convinced him to put on a new play for its sixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger of Bjalbo (1909), and The Regents (1909). His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907), and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black Banners Genre Scenes from the Turn of the Century, (1907) have been viewed as precursors to Marcel Proust and Franz Kafka. August Falck, an actor, wanted to put on a production of Miss Julie and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of Miss Julie. August Falck, played Jean and Manda Bjorling played Julie. In 1909, Strindberg thought he might get the Nobel Prize in Literature, but instead lost to Selma Lagerlöf, the first woman and first Swede to win the award. The leader of the Social Democrat Youth Alliance started a fund-raiser for a special "people's award". Nathan Söderblom (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church. In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. Albert Bonniers förlag, who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, Strindberg noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial. In 1912, she would pass away only a few weeks before him. In 1907 Strindberg co-founded The Intimate Theatre in Stockholm, together with the young actor and stage director August Falck. His theatre was modeled after Max Reinhardt's Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, Strindberg also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, Strindberg wrote four chamber plays: Thunder in the Air, The Burned Site, The Ghost Sonata, and The Pelican; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to August Falck: 1. No liquor. 2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5. Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8. Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work. Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in 1907 with a performance of The Pelican it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from Prince Eugen, Duke of Närke, who attended the première of The Pelican. The theatre eventually went bankrupt in 1910, but did not close until Strindberg's death in 1912. The newspapers wrote about the theatre until its death. Death and funeral Strindberg died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland. They jointly published their translations of his plays in book form in 1912. During Christmas 1911, Strindberg became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition. He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63. Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by Nathan Söderblom by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier. Legacy Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche". A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö. Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period. His most famous and produced plays are Master Olof, Miss Julie, and The Father. Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg. The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam. Politics An acerbic polemicist who was often vehemently opposed to conventional authority, Strindberg was difficult to pigeon-hole as a political figure. Through his long career, he penned scathing attacks on the military, the church, and the monarchy. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of cultural radicalism, but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death. Strindberg's opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial enfant terrible of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life. Strindberg was a prolific letter-writer, whose private communications have been collected in several annotated volumes. He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence. Influenced by the history of the 1871 Paris Commune, young Strindberg had embraced the view that politics is a conflict between the upper and lower classes. Early works like the Red Room or Master Olof took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken socialist, mainly influenced by anarchist or libertarian socialist ideas. However, Strindberg's socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants. He read widely among socialist thinkers, including Cabet, Fourier, Babeuf, Saint-Simon, Proudhon, and Owen, whom he referred to as "friends of humanity and sharp thinkers." "Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms." By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the Marxist-influenced socialism then rising within the Swedish labor movement, Strindberg espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young Strindberg "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life." Although he had been an early proponent of women's rights, calling for women's suffrage in 1884, Strindberg later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely misogynistic statements. His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for The Defence of a Fool, begun in 1887 and published in 1893. Strindberg famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher. Strindberg's misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was Strindberg's anti-Jewish rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked Jews and Judaism as such. The antisemitic outbursts were particularly pronounced in the early 1880s, when Strindberg dedicated an entire chapter ("Moses") in a work of social and political satire, Det nya riket, dedicated to heckling Swedish Jews (including an unflattering portrayal of Albert Bonnier). Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, Jan Myrdal notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of August Strindberg." Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884. A self-declared atheist in his younger years, Strindberg would also re-embrace Christianity, without necessarily making his peace with the church. As noted by Stockholm's Strindberg Museum, the personal and spiritual crisis that Strindberg underwent in Paris in the 1890s, which prompted the writing of Inferno, had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by anarchism, Rousseau, Schopenhauer, and Nietzsche; in the years after the crisis (1897 – 1911) he was influenced by Swedenborg, Goethe, Shakespeare, and Beethoven." In Inferno, Strindberg notes his ideological and spiritual evolution: What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e. the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, Inferno, Chapter XV.) Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, Strindberg remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as Strindberg's descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader Hjalmar Branting, now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism. In 1909, Branting remarked on Strindberg's shifting political and cultural posture, on the occasion of the author's sixtieth birthday: To the young Strindberg, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the Aeropagus of European erudition. But to the Strindberg of Black Banners [1907] and A Blue Book [1907-1912], who, in the shadows of Inferno [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in Social-Demokraten, 22 January 1909.) Toward the end of his life, however, Strindberg would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion. In April 1910, Strindberg launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king Charles XII ("pharao worship"), the lauded poet Verner von Heidenstam ("the spirit-seer of Djursholm"), and the famous author and traveler Sven Hedin ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until Strindberg's death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics. In 1912, Strindberg's funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent. Strindberg's daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, ("Paulsson"). Painting Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. Anders Zorn also did a portrait. Photography Strindberg's interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted; His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific. In 1895 Strindberg met Camille Flammarion and became a member of the Société astronomique de France. He gave some of his experimental astronomical photographs to the Society. Occult studies Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life. In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production. Personal life Strindberg was married three times, as follows: Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans); Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie). Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet. He was related to Nils Strindberg (a son of one of August's cousins). Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house. Bibliography La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p. The Growth of a Soul (1914) The German Lieutenant, and Other Stories (1915) There Are Crimes and Crimes Further reading Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997. (cloth) (bpk) Brita M. E. Mortensen, Brian W. Downs, Strindberg: An Introduction to His Life and Work, Cambridge: Cambridge University Press, 1965 Gundlach, Angelika; Scherzer, Jörg (Ed.): Der andere Strindberg – Materialien zu Malerei, Photographie und Theaterpraxis, Frankfurt a. M.: Insel-Verlag, 1981. ISBN 3-458-31929-8 Prideaux, Sue, Strindberg: A Life, New Haven, CT: Yale University Press, 2012. Schroeder, J., Stenport, A., and Szalczer, E., editors, August Strindberg and Visual Culture, New York: Bloomsbury, 2018. Sprinchorn, Evert, Strindberg As Dramatist, New Haven, CT: Yale University Press, 1982. Stamper, Judith (1975), review of the production of To Damascus at the Traverse Theatre, Edinburgh in April 1975, in Calgacus 2, Summer 1975, p. 56, Sources Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography. Vol. 259 Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. . Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. . Ekman, Hans-Göran. 2000. Strindberg and the Five Senses: Studies in Strindberg's Chamber Plays. London and New Brunswick, New Jersey: Athlone. . Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. . Innes, Christopher, ed. 2000. A Sourcebook on Naturalist Theatre. London and New York: Routledge. . Lagercrantz, Olof. 1984. August Strindberg. Trans. Anselm Hollo. New York: Farrar Straus Giroux. . Lane, Harry. 1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. . . . . . . . . . . . . . Ward, John. 1980. The Social and Religious Plays of Strindberg. London: Athlone. . . . . References External links English-language translations in the public domain Public domain translations of Strindberg's drama The Father, Countess Julie, The Outlaw, The Stronger Comrades, Facing Death, Pariah, Easter Swanwhite, Advent, The Storm There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah To Damascus Part 1 Road To Damascus Parts 1, 2, and 3 Public domain translations of Strindberg's novels The Red Room. The Confession of a Fool. Other Photographs by Strindberg from the National Library of Sweden on Flickr . . . . August Strindberg and absinthe; in his life and in his works . . . . . . . A Dream Play (manuscript) at World Digital Library Burkhart Brückner: Biography of Johan August Strindberg in: Biographical Archive of Psychiatry (BIAPSY). 1849 births 1912 deaths 19th-century alchemists 19th-century essayists 19th-century letter writers 19th-century male artists 19th-century memoirists 19th-century non-fiction writers 19th-century occultists 19th-century short story writers 19th-century Swedish dramatists and playwrights 19th-century Swedish novelists 19th-century Swedish painters 19th-century Swedish photographers 19th-century Swedish poets 19th-century Swedish writers 20th-century alchemists 20th-century essayists 20th-century letter writers 20th-century male artists 20th-century memoirists 20th-century occultists 20th-century short story writers 20th-century Swedish dramatists and playwrights 20th-century Swedish male writers 20th-century Swedish non-fiction writers 20th-century Swedish novelists 20th-century Swedish painters 20th-century Swedish photographers 20th-century Swedish poets Anti-militarism in Europe Anti-monarchists Anti-poverty advocates Artists from Stockholm Burials at Norra begravningsplatsen Critics of Marxism Critics of political economy Critics of religions Cultural critics Deaths from cancer in Sweden European writers in French Expressionist dramatists and playwrights Expressionist painters Irony theorists Literacy and society theorists Literary theorists Male dramatists and playwrights Modernist theatre Modernist writers People prosecuted for blasphemy Psychological fiction writers Social commentators Social critics Surrealist writers Swedish alchemists Swedish anti-capitalists Swedish art critics Swedish autobiographers Swedish essayists Swedish humorists Swedish-language writers Swedish literary critics Swedish male non-fiction writers Swedish male novelists Swedish male painters Swedish male poets Swedish memoirists Swedish occultists Swedish republicans Swedish satirists Swedish short story writers Swedish socialists Swedish theatre critics Swedish theatre directors Theorists on Western civilization Uppsala University alumni Writers about activism and social change Writers from Stockholm	false	[ "\"Red Solo Cup\" is a song written by Brett Warren, Brad Warren, Brett Beavers, and Jim Beavers and recorded by American country music singer Toby Keith. It was released on October 10, 2011 as the second single from Keith’s 2011 album Clancy's Tavern. This is the only song on the album that Keith did not write or co-write. The song was featured in the Glee episode \"Hold On to Sixteen\". Insider ranked it as the second worst song of the 2010s decade and Toby Keith himself called it \"the stupidest song I ever heard in my life.\" A remixed version by Johnny Mac appears on the deluxe edition of Keith's sixteenth studio album Hope on the Rocks, released the following year. It is Keith's biggest and final crossover hit to date.\n\nContent\n\"Red Solo Cup\" is about the Solo Cup Company's red style of plastic cups, and their common usage at parties, among other occasions. It is in the key of A major, with a primary chord pattern of A-Bm7-E-A on the verses, which are spoken-word. The final chorus modulates a whole-step upward to B major.\n\nHistory\nSinger-songwriter duo The Warren Brothers (Brad and Brett Warren) co-wrote \"Red Solo Cup\" with Brett Beavers and his brother, Jim Beavers. The four of them decided to write something that would \"make us all laugh and smile.\" According to Brett Warren, Jim did the majority of the writing. Keith told CMT that it was \"the stupidest song that I have ever heard in my life\" but also \"freakin' awesome.\"\n\nAll four writers sing backing vocals on the song. The Warren Brothers also perform acoustic guitar on it, while Jim plays bass guitar and Brett plays six-string banjo.\n\nMusic video\nThe music video includes cameos from Jeff Dunham (and his character Bubba J), Carrot Top, Ted Nugent, Sammy Hagar, Craig Ferguson, Geoff Peterson, Roger Clemens, Eric Church, Joe Nichols, Lance Burton, and Larry Bird among others.\n\nIt had acquired more than 600,000 views on YouTube before the album's release. The video surpassed 62 million views as of January 2022.\n\nChart performance\n\nYear-end charts\n\nCertifications\n\nOther Versions and Parodies\nGerman singer and entertainer Stefan Raab made up his own version of the song and changed the location of the song and its lyrics to a pub in Cologne. The whole song is sung in the typical dialect of Cologne.\n American parody artist Cledus T. Judd released a parody of \"Red Solo Cup\" titled \"Double D Cups\" on his 2012 album \"Parodyziac!!\".\n\nReferences\n\nExternal links\n\n2011 singles\n2011 songs\nCountry rap songs\nMusic videos directed by Michael Salomon\nNovelty songs\nSongs written by Brett Beavers\nSongs written by Jim Beavers\nSongs written by The Warren Brothers\nShow Dog-Universal Music singles\nSongs about alcohol\nToby Keith songs", "Not Profane is a German music producer, songwriter and singer. He is known for regularly posting music videos on his Not Profane Channel on YouTube.\n\nAs a songwriter he wrote the Top 40 single Somebody Who Loves Me for the Dutch artist Jeronimo van Ballegoijen (known as Jeronimo) and produced another song Unheard on his album. He also co-wrote Movie Star for American teen star Carson Lueders. As an artist he produced, wrote and released singles with Tiffany Alvord – Our Balloons, Sandra Cires – Riki Raka and the Canadian twin sisters Carmen and Camille – Little Bit Of Love. His music videos reached several million unique views on YouTube and were on MTV, Viva, Bild.de and Mc Donald's TV.\n\nHis studio and company No Parade is based in Karlsruhe, Germany and directed and produced the No. 1 MTV Black Charts music video Hell Yeah in California by DJ Rapture ft. Jonn Hart & Milla.\n\nBackground\nNot Profane grew up in Karlsruhe, Germany and graduated Bachelor of Arts 2009 from Popakademie Mannheim University with a degree in Popmusicdesign – Producer.\n\nHe started playing tennis at an early age and always wanted to become a professional tennis player till he fell in love with music at the age of seventeen, because his mother and sister bought a piano. Without ever having lessons he started writing/producing own songs just by ear.\nBesides loving playing (Padel) Tennis, he is a Christian, believing in Jesus/Christ. He often uses and refers to these quotes in statements/posts: If You Can Dream It, You Can Do It! or With God All Things Are Possible!\n\nSound\nHis music/productions are primarily pop with urban/dance influences. He loves the work of songwriter and producer Max Martin and Dr. Luke. All of his productions start or include a specific whistle tone, which he only makes with his mouth sounding like a bird or police whistle.\n\nCareer\n\nCollaboration with – Caylana\nIn 2007 he got a DVD with TV Performances of a young girl from Bosnia-Herzegovina through a tennis friend. After watching the DVD he immediately flew Caylana to Germany to meet and record some demo tapes. Caylana was soon signed to his label and management company No Parade.\nSince then, they are working constantly on own original material in the studio.\n\nIn 2011, after Caylana moved to Germany, they started posting videos on YouTube. The first video was a cover of Nicole Scherzinger's Don't Hold Your Breath which has 445 thousand views to date and even gained interest by the management of Nicole Scherzinger.\nThey are best known for their cover of Flo Rida & Sia's Wild Ones which has had more than 800.000 views as of 29 July 2012\nNot Profane can count over 5 million views on his YouTube videos.\n\nOn 1 June 2012, Not Profane and Caylana released their first original single, Heart of a Lion written and produced by Not Profane on his record label No Parade. The video was directed, shot and cut almost entirely by himself. The song is lyrically related to sport and goals in life and was released one week before the UEFA Euro 2012 opening ceremony. The video appeared on several TV stations in Bosnia-Herzegovina and was also performed live on German TV.\n\nOn 14 December 2012, Caylana released her debut EP-Album, \"Something 'Bout Love\" including 8 tracks all written and produced by Not Profane. \"Sing With Me\", \"Who I Am\" and \"Something 'Bout Love\" are the latest singles that were released 2013 with an official music video on Not Profane's YouTube Channel.\n\nMusic and Fashion label, Video Production – No Parade\nIn 2012 he founded No Parade, a youth oriented music, video production company and fashion label with its premium headwear line, the Not Profane Caps. The first artists to manage are Caylana and Not Profane himself.\nNo Parade is releasing songs digitally on over 300 online music stores worldwide like iTunes, Musicload, Amazon & Co and is also producing music videos for various artists.\n\nProjects – songwriter/producer\nNot Profane had writing sessions with Charlie Mason (Ashley Tisdale, Miley Cyrus), Michelle Leonard, (No Angels, Sarah Connor), and also did productions/remixes for Slim of 112, Ahmir (#1 R&B Group in Boston on YouTube).\n\nOther credits, co-writes and productions include:\n\n Chris Meyer (Jörgen Elofsson \| Co-Write)\n Jan van der Torn (Nsync, Snoop Dogg \| Co-Write)\n Anders Fernette ( Top 10 Sweden \| Co-Write)\n Nanna Martorell (Monrose, Sistanova \| Co-Write)\n Alan Glas (Liberty-X, Earth Wind & Fire, Lighthouse Family \| Co-Write)\n Maryanne Morgan (Mis-Teeq \| Co-Write)\n Battlejuice ft. Atiba (Young Buck/G-Unit \| Official Remix Production)\n Jesus on Extasy (#1 German Media Control Alternate Charts)\n Manuellsen (Album Production)\n Scola (Dru Hill \| Official Remix Production)\n Kaye Styles (Album Production)\n No Angels (Pre-Demo-Production \"Life is a miracle\")\n\nDiscography\n\nReferences\n\nExternal links\n Music & Fashion Label Website\n\nGerman male musicians\nGerman songwriters\nGerman record producers" ]
[ "August Strindberg", "Politics", "What were Strindberg's political views?", "embraced the view, that politics is a conflict between the upper and lower classes.", "Did he write about his views?", "over the years, and he was never primarily a political writer." ]	C_1766e31fc8054f9d84ac10183e72adc5_0	Did he talk about his political views?	3	Did Strindberg talk about his political views?	August Strindberg	Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens. The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books. In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle. His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER	writer. He was a socialist (or perhaps more of an anarchist, meaning	Johan August Strindberg (, ; 22 January 184914 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement. During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as The Ghost Sonata). Biography Youth Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September. Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling. 1870s Strindberg returned to Uppsala University in January 1870 to study aesthetics and modern languages and to work on a number of plays. It was at this time that he first learnt about the ideas of Charles Darwin. He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from runes of the ancient Teutonic alphabet – Strindberg called himself Frö (Seed), after the god of fertility. After abandoning a draft of a play about Eric XIV of Sweden halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called In Rome about Bertel Thorvaldsen, which he had begun the previous autumn. The play was accepted by the Royal Theatre, where it premièred on 13 September 1870. As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable. That year he also first read works of Søren Kierkegaard and Georg Brandes, both of whom influenced him. Taking his cue from William Shakespeare, he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse. During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, Sven the Sacrificer, as a one-act play in prose called The Outlaw. Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on Adam Gottlob Oehlenschläger's Romantic tragedy Earl Haakon (1802). Following further revision in the summer, The Outlaw opened at the Royal Theatre on 16 October 1871. Despite hostile reviews, the play earned him an audience with King Charles XV, who supported his studies with a payment of 200 riksdaler. Towards the end of the year Strindberg completed a first draft of his first major work, a play about Olaus Petri called Master Olof. In September 1872, the Royal Theatre rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions. Returning to the university for what would be his final term in the spring, he left on 2 March 1872, without graduating. In Town and Gown (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors. Strindberg embarked on his career as a journalist and critic for newspapers in Stockholm. He was particularly excited at this time by Henry Thomas Buckle's History of Civilization and the first volume of Georg Brandes' Main Currents of Nineteenth-Century Literature. From December 1874, Strindberg worked for eight years as an assistant librarian at the Royal Library. That same month, Strindberg offered Master Olof to Edvard Stjernström (the director of the newly built New Theatre in Stockholm), but it was rejected. He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in Bern's Restaurant. Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiring actress who, by virtue of her husband, was a baroness – he became infatuated with her. Strindberg described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent." As a result of an argument in January 1876 concerning the inheritance of the family firm, Strindberg's relationship with his father was terminated (he did not attend his funeral in February 1883). From the beginning of 1876, Strindberg and Siri began to meet in secret, and that same year Siri and her husband divorced. Following a successful audition that December, Siri became an actress at the Royal Theatre. They married a year later, on 30 December 1877; Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later. On 9 January 1879, Strindberg was declared bankrupt. In November 1879, his novel The Red Room was published. A satire of Stockholm society, it has frequently been described as the first modern Swedish novel. While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg was hailed as a genius. As a result of The Red Room, he had become famous throughout Scandinavia. Edvard Brandes wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction." In his response to Brandes, Strindberg explained that: 1880s Strindberg and Siri's daughter Karin was born on 26 February 1880. Buoyant from the reception of The Red Room, Strindberg swiftly completed The Secret of the Guild, an historical drama set in Uppsala at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the Royal Theatre on 3 May 1880 (his first première in nine years); Siri played Margaretha. That spring he formed a friendship with the painter Carl Larsson. A collected edition of all of Strindberg's previous writings was published under the title Spring Harvest. From 1881, at the invitation of Edvard Brandes, Strindberg began to contribute articles to the Morgenbladet, a Copenhagen daily newspaper. In April he began work on The Swedish People, a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations. At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again. Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of Kymmendö. That month, a collection of essays from the past ten years, Studies in Cultural History, was published. Ludvig Josephson (the new artistic director of Stockholm's New Theatre) agreed to stage Master Olof, eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of August Lindberg to favourable reviews. While this production of Master Olof was his breakthrough in the theatre, Strindberg's five-act fairy-tale play Lucky Peter's Journey, which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a potboiler. In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season. Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of anti-establishment short stories, The New Kingdom. While there, to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll's House (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882 at the New Theatre. He moved to Grez-sur-Loing, just south of Paris, France, where Larsson was staying. He then moved to Paris, which they found noisy and polluted. Income earned from Lucky Peter's Journey enabled him to move to Switzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans. In 1884 Strindberg wrote a collection of short stories, Getting Married, that presented women in an egalitarian light and for which he was tried for and acquitted of blasphemy in Sweden. Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that Queen Sophia was behind it. By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit. No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up." In May 1885 he wrote: "I am on my way to becoming an atheist." In the wake of the publication of Getting Married, he began to correspond with Émile Zola. During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first. Another collection of stories, Utopias in Reality, was published in September 1885, though it was not well received. In 1885, they moved back to Paris. In September 1887 he began to write a novel in French about his relationship with Siri von Essen called The Defence of a Fool. In 1887, they moved to Issigatsbühl, near Lindau by Lake Constance. His next play, Comrades (1886), was his first in a contemporary setting. After the trial he evaluated his religious beliefs, and concluded that he needed to leave Lutheranism, though he had been Lutheran since childhood; and after briefly being a deist, he became an atheist. He needed a credo and he used Jean-Jacques Rousseau nature worshiping, which he had studied while a student, as one. His works The People of Hemsö (1887) and Among French Peasants (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with Chancellor Otto von Bismarck's Prussia status of the officer corps. After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and By the Open Sea (1890). Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began The Son of a Servant, a four-part autobiography. The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or The Red Room, describes his years as a poet and journalist; it ends with his meeting Siri von Essen. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when Strindberg was wooing von Essen and their marriage; entitled He and She, this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period. In the later half of the 1880s Strindberg discovered Naturalism. After completing The Father in a matter of weeks, he sent a copy to Émile Zola for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing The Father, Strindberg himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in Copenhagen. While there he had several opportunities to meet with both Georg Brandes and his brother Edvard Brandes. Georg helped him put on The Father, which had its première on 14 November 1887 at the Casino Theatre in Copenhagen. It enjoyed a successful run for eleven days after which it toured the Danish provinces. Before writing Creditors, Strindberg completed one of his most famous pieces, Miss Julie. He wrote the play with a Parisian stage in mind, in particular the Théâtre Libre, founded in 1887 by André Antoine. In the play he used Charles Darwin's theory of survival of the fittest and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of Strindberg, the son of a servant, to an aristocratic woman. In the essay On Psychic Murder (1887), he referred to the psychological theories of the Nancy School, which advocated the use of hypnosis. Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as Creditors (1889), The Stronger (1889), and Pariah (1889). In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from Herman Bang, Gustav Wied and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native Finland with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of The Bond and the Link (1893). Strindberg also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was The Stronger (1889). As a result of the failure of the Scandinavian Experimental Theatre, Strindberg did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works. August Strindberg's Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In Strindberg och alkoholen (1985), James Spens discusses Strindberg's drinking habits, including his liking for absinthe and its possible implications for Strindberg's mental health during the inferno period. 1890s After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. Symbolism was just beginning at this time. Verner von Heidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), and The First Warning (1893). His play The Keys of Heaven (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, Playing with Fire (1893), and the first two parts of his post-inferno trilogy To Damascus (1898–1904). In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. Otto Brahm's Freie Bühne theatre premiered some of his famous works in Germany, including The Father, Miss Julie, and Creditors. Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me." Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work. "The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life. Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907). 1900s Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including The Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays. In 1903, Strindberg planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about Martin Luther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical drama in 1908 after the Royal Theatre convinced him to put on a new play for its sixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger of Bjalbo (1909), and The Regents (1909). His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907), and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black Banners Genre Scenes from the Turn of the Century, (1907) have been viewed as precursors to Marcel Proust and Franz Kafka. August Falck, an actor, wanted to put on a production of Miss Julie and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of Miss Julie. August Falck, played Jean and Manda Bjorling played Julie. In 1909, Strindberg thought he might get the Nobel Prize in Literature, but instead lost to Selma Lagerlöf, the first woman and first Swede to win the award. The leader of the Social Democrat Youth Alliance started a fund-raiser for a special "people's award". Nathan Söderblom (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church. In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. Albert Bonniers förlag, who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, Strindberg noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial. In 1912, she would pass away only a few weeks before him. In 1907 Strindberg co-founded The Intimate Theatre in Stockholm, together with the young actor and stage director August Falck. His theatre was modeled after Max Reinhardt's Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, Strindberg also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, Strindberg wrote four chamber plays: Thunder in the Air, The Burned Site, The Ghost Sonata, and The Pelican; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to August Falck: 1. No liquor. 2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5. Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8. Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work. Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in 1907 with a performance of The Pelican it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from Prince Eugen, Duke of Närke, who attended the première of The Pelican. The theatre eventually went bankrupt in 1910, but did not close until Strindberg's death in 1912. The newspapers wrote about the theatre until its death. Death and funeral Strindberg died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland. They jointly published their translations of his plays in book form in 1912. During Christmas 1911, Strindberg became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition. He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63. Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by Nathan Söderblom by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier. Legacy Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche". A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö. Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period. His most famous and produced plays are Master Olof, Miss Julie, and The Father. Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg. The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam. Politics An acerbic polemicist who was often vehemently opposed to conventional authority, Strindberg was difficult to pigeon-hole as a political figure. Through his long career, he penned scathing attacks on the military, the church, and the monarchy. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of cultural radicalism, but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death. Strindberg's opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial enfant terrible of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life. Strindberg was a prolific letter-writer, whose private communications have been collected in several annotated volumes. He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence. Influenced by the history of the 1871 Paris Commune, young Strindberg had embraced the view that politics is a conflict between the upper and lower classes. Early works like the Red Room or Master Olof took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken socialist, mainly influenced by anarchist or libertarian socialist ideas. However, Strindberg's socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants. He read widely among socialist thinkers, including Cabet, Fourier, Babeuf, Saint-Simon, Proudhon, and Owen, whom he referred to as "friends of humanity and sharp thinkers." "Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms." By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the Marxist-influenced socialism then rising within the Swedish labor movement, Strindberg espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young Strindberg "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life." Although he had been an early proponent of women's rights, calling for women's suffrage in 1884, Strindberg later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely misogynistic statements. His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for The Defence of a Fool, begun in 1887 and published in 1893. Strindberg famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher. Strindberg's misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was Strindberg's anti-Jewish rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked Jews and Judaism as such. The antisemitic outbursts were particularly pronounced in the early 1880s, when Strindberg dedicated an entire chapter ("Moses") in a work of social and political satire, Det nya riket, dedicated to heckling Swedish Jews (including an unflattering portrayal of Albert Bonnier). Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, Jan Myrdal notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of August Strindberg." Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884. A self-declared atheist in his younger years, Strindberg would also re-embrace Christianity, without necessarily making his peace with the church. As noted by Stockholm's Strindberg Museum, the personal and spiritual crisis that Strindberg underwent in Paris in the 1890s, which prompted the writing of Inferno, had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by anarchism, Rousseau, Schopenhauer, and Nietzsche; in the years after the crisis (1897 – 1911) he was influenced by Swedenborg, Goethe, Shakespeare, and Beethoven." In Inferno, Strindberg notes his ideological and spiritual evolution: What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e. the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, Inferno, Chapter XV.) Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, Strindberg remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as Strindberg's descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader Hjalmar Branting, now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism. In 1909, Branting remarked on Strindberg's shifting political and cultural posture, on the occasion of the author's sixtieth birthday: To the young Strindberg, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the Aeropagus of European erudition. But to the Strindberg of Black Banners [1907] and A Blue Book [1907-1912], who, in the shadows of Inferno [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in Social-Demokraten, 22 January 1909.) Toward the end of his life, however, Strindberg would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion. In April 1910, Strindberg launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king Charles XII ("pharao worship"), the lauded poet Verner von Heidenstam ("the spirit-seer of Djursholm"), and the famous author and traveler Sven Hedin ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until Strindberg's death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics. In 1912, Strindberg's funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent. Strindberg's daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, ("Paulsson"). Painting Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. Anders Zorn also did a portrait. Photography Strindberg's interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted; His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific. In 1895 Strindberg met Camille Flammarion and became a member of the Société astronomique de France. He gave some of his experimental astronomical photographs to the Society. Occult studies Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life. In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production. Personal life Strindberg was married three times, as follows: Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans); Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie). Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet. He was related to Nils Strindberg (a son of one of August's cousins). Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house. Bibliography La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p. The Growth of a Soul (1914) The German Lieutenant, and Other Stories (1915) There Are Crimes and Crimes Further reading Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997. (cloth) (bpk) Brita M. E. Mortensen, Brian W. Downs, Strindberg: An Introduction to His Life and Work, Cambridge: Cambridge University Press, 1965 Gundlach, Angelika; Scherzer, Jörg (Ed.): Der andere Strindberg – Materialien zu Malerei, Photographie und Theaterpraxis, Frankfurt a. M.: Insel-Verlag, 1981. ISBN 3-458-31929-8 Prideaux, Sue, Strindberg: A Life, New Haven, CT: Yale University Press, 2012. Schroeder, J., Stenport, A., and Szalczer, E., editors, August Strindberg and Visual Culture, New York: Bloomsbury, 2018. Sprinchorn, Evert, Strindberg As Dramatist, New Haven, CT: Yale University Press, 1982. Stamper, Judith (1975), review of the production of To Damascus at the Traverse Theatre, Edinburgh in April 1975, in Calgacus 2, Summer 1975, p. 56, Sources Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography. Vol. 259 Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. . Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. . Ekman, Hans-Göran. 2000. Strindberg and the Five Senses: Studies in Strindberg's Chamber Plays. London and New Brunswick, New Jersey: Athlone. . Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. . Innes, Christopher, ed. 2000. A Sourcebook on Naturalist Theatre. London and New York: Routledge. . Lagercrantz, Olof. 1984. August Strindberg. Trans. Anselm Hollo. New York: Farrar Straus Giroux. . Lane, Harry. 1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. . . . . . . . . . . . . . Ward, John. 1980. The Social and Religious Plays of Strindberg. London: Athlone. . . . . References External links English-language translations in the public domain Public domain translations of Strindberg's drama The Father, Countess Julie, The Outlaw, The Stronger Comrades, Facing Death, Pariah, Easter Swanwhite, Advent, The Storm There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah To Damascus Part 1 Road To Damascus Parts 1, 2, and 3 Public domain translations of Strindberg's novels The Red Room. The Confession of a Fool. Other Photographs by Strindberg from the National Library of Sweden on Flickr . . . . August Strindberg and absinthe; in his life and in his works . . . . . . . A Dream Play (manuscript) at World Digital Library Burkhart Brückner: Biography of Johan August Strindberg in: Biographical Archive of Psychiatry (BIAPSY). 1849 births 1912 deaths 19th-century alchemists 19th-century essayists 19th-century letter writers 19th-century male artists 19th-century memoirists 19th-century non-fiction writers 19th-century occultists 19th-century short story writers 19th-century Swedish dramatists and playwrights 19th-century Swedish novelists 19th-century Swedish painters 19th-century Swedish photographers 19th-century Swedish poets 19th-century Swedish writers 20th-century alchemists 20th-century essayists 20th-century letter writers 20th-century male artists 20th-century memoirists 20th-century occultists 20th-century short story writers 20th-century Swedish dramatists and playwrights 20th-century Swedish male writers 20th-century Swedish non-fiction writers 20th-century Swedish novelists 20th-century Swedish painters 20th-century Swedish photographers 20th-century Swedish poets Anti-militarism in Europe Anti-monarchists Anti-poverty advocates Artists from Stockholm Burials at Norra begravningsplatsen Critics of Marxism Critics of political economy Critics of religions Cultural critics Deaths from cancer in Sweden European writers in French Expressionist dramatists and playwrights Expressionist painters Irony theorists Literacy and society theorists Literary theorists Male dramatists and playwrights Modernist theatre Modernist writers People prosecuted for blasphemy Psychological fiction writers Social commentators Social critics Surrealist writers Swedish alchemists Swedish anti-capitalists Swedish art critics Swedish autobiographers Swedish essayists Swedish humorists Swedish-language writers Swedish literary critics Swedish male non-fiction writers Swedish male novelists Swedish male painters Swedish male poets Swedish memoirists Swedish occultists Swedish republicans Swedish satirists Swedish short story writers Swedish socialists Swedish theatre critics Swedish theatre directors Theorists on Western civilization Uppsala University alumni Writers about activism and social change Writers from Stockholm	false	[ "Aapas ki Baat Najam Sethi Kay Sath (in Urdu:اپس کی بات نجم سیٹھی کے ساتھ) is an airing show on Geo News which airs from Monday to Wednesday at 11:00pm–12:00am. The show gives political analysis on current affairs of Pakistan. The show cast also predicts about future of political affairs in show under the given limits and code of conduct of channel. This airing show is considered to be one of the most successful and popular airing show of country. Aapas ki Baat is a discussion-based talk show which is different from usual format of Pakistani talk shows. Najam Sethi expresses his views in and draws attention to the happenings in the political area of Pakistan.\n\nReferences\n\nExternal links\ngeo.tv\naffairs.com.pk\n\nGeo News\nPakistani television talk shows", "Robert Baril is a stand-up comedian and radio talk-show host from Minneapolis, Minnesota. He has released two albums on Stand Up! Records, Sex and Politics and TMI, both produced by Grammy winner Dan Schlissel. He was the host of Laughing Matters on AM950 in Minneapolis.\n\nEarly life \nBaril was born in Roseau, Minnesota and raised in the nearby town of Warroad. He attended Warroad High School, where he first performed in plays and did his first stand-up act. He graduated from Bemidji State University with a degree in political science and philosophy. He moved to Minneapolis in 2009. While launching his stand-up career he worked as a substitute teacher.\n\nCareer\nMuch of Baril's stand-up comedy is informed by his liberal political views, with a style inspired by political comics Dennis Miller, Colin Quinn, and Jon Stewart, as well as Garry Shandling and Carol Burnett. A reviewer for Minneapolis newspaper City Pages called it \"a maelstrom of social observation and biting commentary that is as delightfully funny as it is whip-smart.\" Over time, he has also delved into more personal material such as his engagement to a woman with grandchildren, making him \"sort of the acting step-grandpa.\"\n\nFrom 2015 to 2019, he hosted the talk-show Laughing Matters, on Minneapolis progressive radio station AM 950 KTNF. He is a regular contributor to the political podcast Filter Free Amerika. He is also half of the sketch duo Lestaril with Twin Cities comic Mike Lester.\n\nHe has released two albums, Sex and Politics and TMI. Patrick Strait of The Growler praised TMI'''s balance of personal and political topics, calling Baril \"a comedian who has found his voice.\"\n\nDiscographySex and Politics (Stand Up! Records, 2017)TMI'' (Stand Up! Records, 2019)\n\nReferences\n\nExternal links\nOfficial Robert Baril website\n\nRobert Baril at Stand Up! Records website\nLaughing Matters podcast website\nFilter Free Amerika podcast website\n\nLiving people\nPeople from Roseau, Minnesota\nPeople from Warroad, Minnesota\n21st-century American comedians\nAmerican stand-up comedians\nAmerican male comedians\nBemidji State University alumni\nComedians from Minnesota\nStand Up! Records artists\nRadio personalities from Minnesota\nAmerican talk radio hosts\n1986 births" ]
[ "August Strindberg", "Politics", "What were Strindberg's political views?", "embraced the view, that politics is a conflict between the upper and lower classes.", "Did he write about his views?", "over the years, and he was never primarily a political writer.", "Did he talk about his political views?", "writer. He was a socialist (or perhaps more of an anarchist, meaning" ]	C_1766e31fc8054f9d84ac10183e72adc5_0	How was he an anarchist?	4	How was Strindberg an anarchist?	August Strindberg	Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens. The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books. In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle. His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER	CANNOTANSWER	Johan August Strindberg (, ; 22 January 184914 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement. During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as The Ghost Sonata). Biography Youth Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September. Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling. 1870s Strindberg returned to Uppsala University in January 1870 to study aesthetics and modern languages and to work on a number of plays. It was at this time that he first learnt about the ideas of Charles Darwin. He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from runes of the ancient Teutonic alphabet – Strindberg called himself Frö (Seed), after the god of fertility. After abandoning a draft of a play about Eric XIV of Sweden halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called In Rome about Bertel Thorvaldsen, which he had begun the previous autumn. The play was accepted by the Royal Theatre, where it premièred on 13 September 1870. As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable. That year he also first read works of Søren Kierkegaard and Georg Brandes, both of whom influenced him. Taking his cue from William Shakespeare, he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse. During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, Sven the Sacrificer, as a one-act play in prose called The Outlaw. Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on Adam Gottlob Oehlenschläger's Romantic tragedy Earl Haakon (1802). Following further revision in the summer, The Outlaw opened at the Royal Theatre on 16 October 1871. Despite hostile reviews, the play earned him an audience with King Charles XV, who supported his studies with a payment of 200 riksdaler. Towards the end of the year Strindberg completed a first draft of his first major work, a play about Olaus Petri called Master Olof. In September 1872, the Royal Theatre rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions. Returning to the university for what would be his final term in the spring, he left on 2 March 1872, without graduating. In Town and Gown (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors. Strindberg embarked on his career as a journalist and critic for newspapers in Stockholm. He was particularly excited at this time by Henry Thomas Buckle's History of Civilization and the first volume of Georg Brandes' Main Currents of Nineteenth-Century Literature. From December 1874, Strindberg worked for eight years as an assistant librarian at the Royal Library. That same month, Strindberg offered Master Olof to Edvard Stjernström (the director of the newly built New Theatre in Stockholm), but it was rejected. He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in Bern's Restaurant. Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiring actress who, by virtue of her husband, was a baroness – he became infatuated with her. Strindberg described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent." As a result of an argument in January 1876 concerning the inheritance of the family firm, Strindberg's relationship with his father was terminated (he did not attend his funeral in February 1883). From the beginning of 1876, Strindberg and Siri began to meet in secret, and that same year Siri and her husband divorced. Following a successful audition that December, Siri became an actress at the Royal Theatre. They married a year later, on 30 December 1877; Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later. On 9 January 1879, Strindberg was declared bankrupt. In November 1879, his novel The Red Room was published. A satire of Stockholm society, it has frequently been described as the first modern Swedish novel. While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg was hailed as a genius. As a result of The Red Room, he had become famous throughout Scandinavia. Edvard Brandes wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction." In his response to Brandes, Strindberg explained that: 1880s Strindberg and Siri's daughter Karin was born on 26 February 1880. Buoyant from the reception of The Red Room, Strindberg swiftly completed The Secret of the Guild, an historical drama set in Uppsala at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the Royal Theatre on 3 May 1880 (his first première in nine years); Siri played Margaretha. That spring he formed a friendship with the painter Carl Larsson. A collected edition of all of Strindberg's previous writings was published under the title Spring Harvest. From 1881, at the invitation of Edvard Brandes, Strindberg began to contribute articles to the Morgenbladet, a Copenhagen daily newspaper. In April he began work on The Swedish People, a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations. At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again. Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of Kymmendö. That month, a collection of essays from the past ten years, Studies in Cultural History, was published. Ludvig Josephson (the new artistic director of Stockholm's New Theatre) agreed to stage Master Olof, eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of August Lindberg to favourable reviews. While this production of Master Olof was his breakthrough in the theatre, Strindberg's five-act fairy-tale play Lucky Peter's Journey, which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a potboiler. In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season. Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of anti-establishment short stories, The New Kingdom. While there, to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll's House (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882 at the New Theatre. He moved to Grez-sur-Loing, just south of Paris, France, where Larsson was staying. He then moved to Paris, which they found noisy and polluted. Income earned from Lucky Peter's Journey enabled him to move to Switzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans. In 1884 Strindberg wrote a collection of short stories, Getting Married, that presented women in an egalitarian light and for which he was tried for and acquitted of blasphemy in Sweden. Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that Queen Sophia was behind it. By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit. No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up." In May 1885 he wrote: "I am on my way to becoming an atheist." In the wake of the publication of Getting Married, he began to correspond with Émile Zola. During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first. Another collection of stories, Utopias in Reality, was published in September 1885, though it was not well received. In 1885, they moved back to Paris. In September 1887 he began to write a novel in French about his relationship with Siri von Essen called The Defence of a Fool. In 1887, they moved to Issigatsbühl, near Lindau by Lake Constance. His next play, Comrades (1886), was his first in a contemporary setting. After the trial he evaluated his religious beliefs, and concluded that he needed to leave Lutheranism, though he had been Lutheran since childhood; and after briefly being a deist, he became an atheist. He needed a credo and he used Jean-Jacques Rousseau nature worshiping, which he had studied while a student, as one. His works The People of Hemsö (1887) and Among French Peasants (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with Chancellor Otto von Bismarck's Prussia status of the officer corps. After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and By the Open Sea (1890). Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began The Son of a Servant, a four-part autobiography. The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or The Red Room, describes his years as a poet and journalist; it ends with his meeting Siri von Essen. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when Strindberg was wooing von Essen and their marriage; entitled He and She, this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period. In the later half of the 1880s Strindberg discovered Naturalism. After completing The Father in a matter of weeks, he sent a copy to Émile Zola for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing The Father, Strindberg himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in Copenhagen. While there he had several opportunities to meet with both Georg Brandes and his brother Edvard Brandes. Georg helped him put on The Father, which had its première on 14 November 1887 at the Casino Theatre in Copenhagen. It enjoyed a successful run for eleven days after which it toured the Danish provinces. Before writing Creditors, Strindberg completed one of his most famous pieces, Miss Julie. He wrote the play with a Parisian stage in mind, in particular the Théâtre Libre, founded in 1887 by André Antoine. In the play he used Charles Darwin's theory of survival of the fittest and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of Strindberg, the son of a servant, to an aristocratic woman. In the essay On Psychic Murder (1887), he referred to the psychological theories of the Nancy School, which advocated the use of hypnosis. Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as Creditors (1889), The Stronger (1889), and Pariah (1889). In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from Herman Bang, Gustav Wied and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native Finland with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of The Bond and the Link (1893). Strindberg also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was The Stronger (1889). As a result of the failure of the Scandinavian Experimental Theatre, Strindberg did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works. August Strindberg's Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In Strindberg och alkoholen (1985), James Spens discusses Strindberg's drinking habits, including his liking for absinthe and its possible implications for Strindberg's mental health during the inferno period. 1890s After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. Symbolism was just beginning at this time. Verner von Heidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), and The First Warning (1893). His play The Keys of Heaven (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, Playing with Fire (1893), and the first two parts of his post-inferno trilogy To Damascus (1898–1904). In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. Otto Brahm's Freie Bühne theatre premiered some of his famous works in Germany, including The Father, Miss Julie, and Creditors. Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me." Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work. "The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life. Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907). 1900s Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including The Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays. In 1903, Strindberg planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about Martin Luther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical drama in 1908 after the Royal Theatre convinced him to put on a new play for its sixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger of Bjalbo (1909), and The Regents (1909). His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907), and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black Banners Genre Scenes from the Turn of the Century, (1907) have been viewed as precursors to Marcel Proust and Franz Kafka. August Falck, an actor, wanted to put on a production of Miss Julie and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of Miss Julie. August Falck, played Jean and Manda Bjorling played Julie. In 1909, Strindberg thought he might get the Nobel Prize in Literature, but instead lost to Selma Lagerlöf, the first woman and first Swede to win the award. The leader of the Social Democrat Youth Alliance started a fund-raiser for a special "people's award". Nathan Söderblom (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church. In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. Albert Bonniers förlag, who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, Strindberg noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial. In 1912, she would pass away only a few weeks before him. In 1907 Strindberg co-founded The Intimate Theatre in Stockholm, together with the young actor and stage director August Falck. His theatre was modeled after Max Reinhardt's Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, Strindberg also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, Strindberg wrote four chamber plays: Thunder in the Air, The Burned Site, The Ghost Sonata, and The Pelican; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to August Falck: 1. No liquor. 2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5. Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8. Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work. Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in 1907 with a performance of The Pelican it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from Prince Eugen, Duke of Närke, who attended the première of The Pelican. The theatre eventually went bankrupt in 1910, but did not close until Strindberg's death in 1912. The newspapers wrote about the theatre until its death. Death and funeral Strindberg died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland. They jointly published their translations of his plays in book form in 1912. During Christmas 1911, Strindberg became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition. He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63. Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by Nathan Söderblom by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier. Legacy Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche". A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö. Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period. His most famous and produced plays are Master Olof, Miss Julie, and The Father. Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg. The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam. Politics An acerbic polemicist who was often vehemently opposed to conventional authority, Strindberg was difficult to pigeon-hole as a political figure. Through his long career, he penned scathing attacks on the military, the church, and the monarchy. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of cultural radicalism, but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death. Strindberg's opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial enfant terrible of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life. Strindberg was a prolific letter-writer, whose private communications have been collected in several annotated volumes. He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence. Influenced by the history of the 1871 Paris Commune, young Strindberg had embraced the view that politics is a conflict between the upper and lower classes. Early works like the Red Room or Master Olof took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken socialist, mainly influenced by anarchist or libertarian socialist ideas. However, Strindberg's socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants. He read widely among socialist thinkers, including Cabet, Fourier, Babeuf, Saint-Simon, Proudhon, and Owen, whom he referred to as "friends of humanity and sharp thinkers." "Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms." By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the Marxist-influenced socialism then rising within the Swedish labor movement, Strindberg espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young Strindberg "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life." Although he had been an early proponent of women's rights, calling for women's suffrage in 1884, Strindberg later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely misogynistic statements. His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for The Defence of a Fool, begun in 1887 and published in 1893. Strindberg famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher. Strindberg's misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was Strindberg's anti-Jewish rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked Jews and Judaism as such. The antisemitic outbursts were particularly pronounced in the early 1880s, when Strindberg dedicated an entire chapter ("Moses") in a work of social and political satire, Det nya riket, dedicated to heckling Swedish Jews (including an unflattering portrayal of Albert Bonnier). Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, Jan Myrdal notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of August Strindberg." Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884. A self-declared atheist in his younger years, Strindberg would also re-embrace Christianity, without necessarily making his peace with the church. As noted by Stockholm's Strindberg Museum, the personal and spiritual crisis that Strindberg underwent in Paris in the 1890s, which prompted the writing of Inferno, had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by anarchism, Rousseau, Schopenhauer, and Nietzsche; in the years after the crisis (1897 – 1911) he was influenced by Swedenborg, Goethe, Shakespeare, and Beethoven." In Inferno, Strindberg notes his ideological and spiritual evolution: What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e. the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, Inferno, Chapter XV.) Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, Strindberg remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as Strindberg's descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader Hjalmar Branting, now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism. In 1909, Branting remarked on Strindberg's shifting political and cultural posture, on the occasion of the author's sixtieth birthday: To the young Strindberg, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the Aeropagus of European erudition. But to the Strindberg of Black Banners [1907] and A Blue Book [1907-1912], who, in the shadows of Inferno [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in Social-Demokraten, 22 January 1909.) Toward the end of his life, however, Strindberg would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion. In April 1910, Strindberg launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king Charles XII ("pharao worship"), the lauded poet Verner von Heidenstam ("the spirit-seer of Djursholm"), and the famous author and traveler Sven Hedin ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until Strindberg's death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics. In 1912, Strindberg's funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent. Strindberg's daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, ("Paulsson"). Painting Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. Anders Zorn also did a portrait. Photography Strindberg's interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted; His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific. In 1895 Strindberg met Camille Flammarion and became a member of the Société astronomique de France. He gave some of his experimental astronomical photographs to the Society. Occult studies Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life. In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production. Personal life Strindberg was married three times, as follows: Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans); Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie). Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet. He was related to Nils Strindberg (a son of one of August's cousins). Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house. Bibliography La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p. The Growth of a Soul (1914) The German Lieutenant, and Other Stories (1915) There Are Crimes and Crimes Further reading Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997. (cloth) (bpk) Brita M. E. Mortensen, Brian W. Downs, Strindberg: An Introduction to His Life and Work, Cambridge: Cambridge University Press, 1965 Gundlach, Angelika; Scherzer, Jörg (Ed.): Der andere Strindberg – Materialien zu Malerei, Photographie und Theaterpraxis, Frankfurt a. M.: Insel-Verlag, 1981. ISBN 3-458-31929-8 Prideaux, Sue, Strindberg: A Life, New Haven, CT: Yale University Press, 2012. Schroeder, J., Stenport, A., and Szalczer, E., editors, August Strindberg and Visual Culture, New York: Bloomsbury, 2018. Sprinchorn, Evert, Strindberg As Dramatist, New Haven, CT: Yale University Press, 1982. Stamper, Judith (1975), review of the production of To Damascus at the Traverse Theatre, Edinburgh in April 1975, in Calgacus 2, Summer 1975, p. 56, Sources Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography. Vol. 259 Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. . Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. . Ekman, Hans-Göran. 2000. Strindberg and the Five Senses: Studies in Strindberg's Chamber Plays. London and New Brunswick, New Jersey: Athlone. . Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. . Innes, Christopher, ed. 2000. A Sourcebook on Naturalist Theatre. London and New York: Routledge. . Lagercrantz, Olof. 1984. August Strindberg. Trans. Anselm Hollo. New York: Farrar Straus Giroux. . Lane, Harry. 1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. . . . . . . . . . . . . . Ward, John. 1980. The Social and Religious Plays of Strindberg. London: Athlone. . . . . References External links English-language translations in the public domain Public domain translations of Strindberg's drama The Father, Countess Julie, The Outlaw, The Stronger Comrades, Facing Death, Pariah, Easter Swanwhite, Advent, The Storm There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah To Damascus Part 1 Road To Damascus Parts 1, 2, and 3 Public domain translations of Strindberg's novels The Red Room. The Confession of a Fool. Other Photographs by Strindberg from the National Library of Sweden on Flickr . . . . August Strindberg and absinthe; in his life and in his works . . . . . . . A Dream Play (manuscript) at World Digital Library Burkhart Brückner: Biography of Johan August Strindberg in: Biographical Archive of Psychiatry (BIAPSY). 1849 births 1912 deaths 19th-century alchemists 19th-century essayists 19th-century letter writers 19th-century male artists 19th-century memoirists 19th-century non-fiction writers 19th-century occultists 19th-century short story writers 19th-century Swedish dramatists and playwrights 19th-century Swedish novelists 19th-century Swedish painters 19th-century Swedish photographers 19th-century Swedish poets 19th-century Swedish writers 20th-century alchemists 20th-century essayists 20th-century letter writers 20th-century male artists 20th-century memoirists 20th-century occultists 20th-century short story writers 20th-century Swedish dramatists and playwrights 20th-century Swedish male writers 20th-century Swedish non-fiction writers 20th-century Swedish novelists 20th-century Swedish painters 20th-century Swedish photographers 20th-century Swedish poets Anti-militarism in Europe Anti-monarchists Anti-poverty advocates Artists from Stockholm Burials at Norra begravningsplatsen Critics of Marxism Critics of political economy Critics of religions Cultural critics Deaths from cancer in Sweden European writers in French Expressionist dramatists and playwrights Expressionist painters Irony theorists Literacy and society theorists Literary theorists Male dramatists and playwrights Modernist theatre Modernist writers People prosecuted for blasphemy Psychological fiction writers Social commentators Social critics Surrealist writers Swedish alchemists Swedish anti-capitalists Swedish art critics Swedish autobiographers Swedish essayists Swedish humorists Swedish-language writers Swedish literary critics Swedish male non-fiction writers Swedish male novelists Swedish male painters Swedish male poets Swedish memoirists Swedish occultists Swedish republicans Swedish satirists Swedish short story writers Swedish socialists Swedish theatre critics Swedish theatre directors Theorists on Western civilization Uppsala University alumni Writers about activism and social change Writers from Stockholm	false	[ "David Alfred Andrade (30 April 1859 – 23 May 1928) was an Australian individualist and free market anarchist.\n\nBiography\nHis parents were Abraham Da Costa Andrade and Maria Giles, both from Middlesex, England. His brother William Charles Andrade was an anarchist too. They were active in Joseph Symes's Australasian Secular Association.\n\nIn 14 May 1886, David Andrade, his brother Will and half a dozen others formed the Melbourne Anarchist Club (MAC), the first anarchist organisation in Australia. Andrade became the MAC secretary and one of its main propagandists.\n\nThe MAC produced the journal Honesty, an Australian organ of anarchism which had substantially the same principles as those championed by Benjamin Tucker's Liberty. In a news agency at Brunswick, now an inner suburb of Melbourne, and later in Liberty Hall, Russell St. Melbourne the brothers operated the first anarchist book shops in Australia. Andrade was a vegetarian and with his brother operated the first vegetarian restaurant in Melbourne.\n\nAndrade's main works include Money: A Study of the Currency Question (1887), Our Social System (n.d.), An Anarchist Plan of Campaign (1888), and The Melbourne Riots and how Harry Holdfast and his Friends Emancipated the Workers (1892).\n\nIn the early 1890s, Andrade was the secretary of the Unemployed Workers Association.\n\nAndrade explains, \"We are ruled by a lot of robbers. Our legislators are more degraded than a person who abuses a woman or a child and I have no confidence in them.\"\n\nAndrade was burnt out in the disastrous Red Tuesday bushfires in 1898. He appears to have been financially ruined by this. In 1903, he was committed to the Yarra Bend Asylum and died in 1928 at the Ballarat Mental Asylum.\n\nAndrade adds, \"Socialism is a matter of justice. It acknowledges the rights of the poor to dignity and self determination, promulgating co-operation as the cure for the wrongs of capitalism.\"\n\nSelected publications\nEssay on Truth (1880)\nMoney: A Study of the Currency Question (1887)\nAn Anarchist Plan of Campaign (1888)\nOur Social System (1890) \nThe Melbourne Riots and How Harry Holdfast and his Friends Emancipated the Workers (1892)\n\nReferences\n\nFurther reading\n Andrade, David Alfred (1859–1928) Australian Dictionary of Biography. Accessed 1 May 2007\n Melbourne's Radical Bookshops by John Sendy, (1983) International Bookshop Pty Ltd\n A Reader of Australian Anarchism 1886–1896 by Bob James (1979) No ISBN\n Anarchy by David Andrade in Honesty, Melbourne, February 1889, published in Anarchism in Australia: An Anthology 1886–1986 edited by Bob James, Melbourne (1986) No ISBN\n\n1859 births\n1928 deaths\nAnarchist writers\nAustralian anarchists\nAustralian anti-capitalists\nAustralian male non-fiction writers\nAustralian political philosophers\nAustralian political writers\nFree-market anarchists\nIndividualist anarchists\nLibertarian socialists\nVegetarianism activists", "Moshe Katz (1885–1960) was an anarchist and translator of multiple anarchist classics: Conquest of Bread, Moribund Society and Anarchy, and Prison Memoirs of an Anarchist. He was an editor of the Yiddish-language anarchist newspaper Fraye Arbeter Shtime in the 1890s, and an early member of the Pioneers of Liberty. He became the editor of the Yidishe velt (The Jewish World) in Philadelphia.\n\nNotes\n\nReferences\n\nBibliography\n\nFurther reading \n\n \n \n\n1885 births\n1960 deaths\nPeople from Dokshytsy District\nPeople from Borisovsky Uyezd\nBelarusian Jews\nAmerican anarchists\nEditors of Fraye Arbeter Shtime\nJewish anarchists\nRussian anarchists\nYiddish-language writers\nSoviet anarchists" ]
[ "August Strindberg", "Politics", "What were Strindberg's political views?", "embraced the view, that politics is a conflict between the upper and lower classes.", "Did he write about his views?", "over the years, and he was never primarily a political writer.", "Did he talk about his political views?", "writer. He was a socialist (or perhaps more of an anarchist, meaning", "How was he an anarchist?", "I don't know." ]	C_1766e31fc8054f9d84ac10183e72adc5_0	Was there controversy over his politics?	5	Was there controversy over Strindberg's politics?	August Strindberg	Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens. The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books. In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle. His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER	preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and	Johan August Strindberg (, ; 22 January 184914 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement. During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as The Ghost Sonata). Biography Youth Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September. Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling. 1870s Strindberg returned to Uppsala University in January 1870 to study aesthetics and modern languages and to work on a number of plays. It was at this time that he first learnt about the ideas of Charles Darwin. He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from runes of the ancient Teutonic alphabet – Strindberg called himself Frö (Seed), after the god of fertility. After abandoning a draft of a play about Eric XIV of Sweden halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called In Rome about Bertel Thorvaldsen, which he had begun the previous autumn. The play was accepted by the Royal Theatre, where it premièred on 13 September 1870. As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable. That year he also first read works of Søren Kierkegaard and Georg Brandes, both of whom influenced him. Taking his cue from William Shakespeare, he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse. During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, Sven the Sacrificer, as a one-act play in prose called The Outlaw. Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on Adam Gottlob Oehlenschläger's Romantic tragedy Earl Haakon (1802). Following further revision in the summer, The Outlaw opened at the Royal Theatre on 16 October 1871. Despite hostile reviews, the play earned him an audience with King Charles XV, who supported his studies with a payment of 200 riksdaler. Towards the end of the year Strindberg completed a first draft of his first major work, a play about Olaus Petri called Master Olof. In September 1872, the Royal Theatre rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions. Returning to the university for what would be his final term in the spring, he left on 2 March 1872, without graduating. In Town and Gown (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors. Strindberg embarked on his career as a journalist and critic for newspapers in Stockholm. He was particularly excited at this time by Henry Thomas Buckle's History of Civilization and the first volume of Georg Brandes' Main Currents of Nineteenth-Century Literature. From December 1874, Strindberg worked for eight years as an assistant librarian at the Royal Library. That same month, Strindberg offered Master Olof to Edvard Stjernström (the director of the newly built New Theatre in Stockholm), but it was rejected. He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in Bern's Restaurant. Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiring actress who, by virtue of her husband, was a baroness – he became infatuated with her. Strindberg described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent." As a result of an argument in January 1876 concerning the inheritance of the family firm, Strindberg's relationship with his father was terminated (he did not attend his funeral in February 1883). From the beginning of 1876, Strindberg and Siri began to meet in secret, and that same year Siri and her husband divorced. Following a successful audition that December, Siri became an actress at the Royal Theatre. They married a year later, on 30 December 1877; Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later. On 9 January 1879, Strindberg was declared bankrupt. In November 1879, his novel The Red Room was published. A satire of Stockholm society, it has frequently been described as the first modern Swedish novel. While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg was hailed as a genius. As a result of The Red Room, he had become famous throughout Scandinavia. Edvard Brandes wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction." In his response to Brandes, Strindberg explained that: 1880s Strindberg and Siri's daughter Karin was born on 26 February 1880. Buoyant from the reception of The Red Room, Strindberg swiftly completed The Secret of the Guild, an historical drama set in Uppsala at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the Royal Theatre on 3 May 1880 (his first première in nine years); Siri played Margaretha. That spring he formed a friendship with the painter Carl Larsson. A collected edition of all of Strindberg's previous writings was published under the title Spring Harvest. From 1881, at the invitation of Edvard Brandes, Strindberg began to contribute articles to the Morgenbladet, a Copenhagen daily newspaper. In April he began work on The Swedish People, a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations. At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again. Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of Kymmendö. That month, a collection of essays from the past ten years, Studies in Cultural History, was published. Ludvig Josephson (the new artistic director of Stockholm's New Theatre) agreed to stage Master Olof, eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of August Lindberg to favourable reviews. While this production of Master Olof was his breakthrough in the theatre, Strindberg's five-act fairy-tale play Lucky Peter's Journey, which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a potboiler. In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season. Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of anti-establishment short stories, The New Kingdom. While there, to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll's House (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882 at the New Theatre. He moved to Grez-sur-Loing, just south of Paris, France, where Larsson was staying. He then moved to Paris, which they found noisy and polluted. Income earned from Lucky Peter's Journey enabled him to move to Switzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans. In 1884 Strindberg wrote a collection of short stories, Getting Married, that presented women in an egalitarian light and for which he was tried for and acquitted of blasphemy in Sweden. Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that Queen Sophia was behind it. By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit. No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up." In May 1885 he wrote: "I am on my way to becoming an atheist." In the wake of the publication of Getting Married, he began to correspond with Émile Zola. During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first. Another collection of stories, Utopias in Reality, was published in September 1885, though it was not well received. In 1885, they moved back to Paris. In September 1887 he began to write a novel in French about his relationship with Siri von Essen called The Defence of a Fool. In 1887, they moved to Issigatsbühl, near Lindau by Lake Constance. His next play, Comrades (1886), was his first in a contemporary setting. After the trial he evaluated his religious beliefs, and concluded that he needed to leave Lutheranism, though he had been Lutheran since childhood; and after briefly being a deist, he became an atheist. He needed a credo and he used Jean-Jacques Rousseau nature worshiping, which he had studied while a student, as one. His works The People of Hemsö (1887) and Among French Peasants (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with Chancellor Otto von Bismarck's Prussia status of the officer corps. After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and By the Open Sea (1890). Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began The Son of a Servant, a four-part autobiography. The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or The Red Room, describes his years as a poet and journalist; it ends with his meeting Siri von Essen. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when Strindberg was wooing von Essen and their marriage; entitled He and She, this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period. In the later half of the 1880s Strindberg discovered Naturalism. After completing The Father in a matter of weeks, he sent a copy to Émile Zola for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing The Father, Strindberg himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in Copenhagen. While there he had several opportunities to meet with both Georg Brandes and his brother Edvard Brandes. Georg helped him put on The Father, which had its première on 14 November 1887 at the Casino Theatre in Copenhagen. It enjoyed a successful run for eleven days after which it toured the Danish provinces. Before writing Creditors, Strindberg completed one of his most famous pieces, Miss Julie. He wrote the play with a Parisian stage in mind, in particular the Théâtre Libre, founded in 1887 by André Antoine. In the play he used Charles Darwin's theory of survival of the fittest and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of Strindberg, the son of a servant, to an aristocratic woman. In the essay On Psychic Murder (1887), he referred to the psychological theories of the Nancy School, which advocated the use of hypnosis. Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as Creditors (1889), The Stronger (1889), and Pariah (1889). In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from Herman Bang, Gustav Wied and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native Finland with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of The Bond and the Link (1893). Strindberg also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was The Stronger (1889). As a result of the failure of the Scandinavian Experimental Theatre, Strindberg did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works. August Strindberg's Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In Strindberg och alkoholen (1985), James Spens discusses Strindberg's drinking habits, including his liking for absinthe and its possible implications for Strindberg's mental health during the inferno period. 1890s After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. Symbolism was just beginning at this time. Verner von Heidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), and The First Warning (1893). His play The Keys of Heaven (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, Playing with Fire (1893), and the first two parts of his post-inferno trilogy To Damascus (1898–1904). In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. Otto Brahm's Freie Bühne theatre premiered some of his famous works in Germany, including The Father, Miss Julie, and Creditors. Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me." Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work. "The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life. Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907). 1900s Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including The Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays. In 1903, Strindberg planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about Martin Luther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical drama in 1908 after the Royal Theatre convinced him to put on a new play for its sixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger of Bjalbo (1909), and The Regents (1909). His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907), and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black Banners Genre Scenes from the Turn of the Century, (1907) have been viewed as precursors to Marcel Proust and Franz Kafka. August Falck, an actor, wanted to put on a production of Miss Julie and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of Miss Julie. August Falck, played Jean and Manda Bjorling played Julie. In 1909, Strindberg thought he might get the Nobel Prize in Literature, but instead lost to Selma Lagerlöf, the first woman and first Swede to win the award. The leader of the Social Democrat Youth Alliance started a fund-raiser for a special "people's award". Nathan Söderblom (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church. In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. Albert Bonniers förlag, who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, Strindberg noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial. In 1912, she would pass away only a few weeks before him. In 1907 Strindberg co-founded The Intimate Theatre in Stockholm, together with the young actor and stage director August Falck. His theatre was modeled after Max Reinhardt's Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, Strindberg also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, Strindberg wrote four chamber plays: Thunder in the Air, The Burned Site, The Ghost Sonata, and The Pelican; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to August Falck: 1. No liquor. 2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5. Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8. Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work. Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in 1907 with a performance of The Pelican it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from Prince Eugen, Duke of Närke, who attended the première of The Pelican. The theatre eventually went bankrupt in 1910, but did not close until Strindberg's death in 1912. The newspapers wrote about the theatre until its death. Death and funeral Strindberg died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland. They jointly published their translations of his plays in book form in 1912. During Christmas 1911, Strindberg became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition. He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63. Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by Nathan Söderblom by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier. Legacy Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche". A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö. Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period. His most famous and produced plays are Master Olof, Miss Julie, and The Father. Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg. The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam. Politics An acerbic polemicist who was often vehemently opposed to conventional authority, Strindberg was difficult to pigeon-hole as a political figure. Through his long career, he penned scathing attacks on the military, the church, and the monarchy. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of cultural radicalism, but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death. Strindberg's opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial enfant terrible of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life. Strindberg was a prolific letter-writer, whose private communications have been collected in several annotated volumes. He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence. Influenced by the history of the 1871 Paris Commune, young Strindberg had embraced the view that politics is a conflict between the upper and lower classes. Early works like the Red Room or Master Olof took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken socialist, mainly influenced by anarchist or libertarian socialist ideas. However, Strindberg's socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants. He read widely among socialist thinkers, including Cabet, Fourier, Babeuf, Saint-Simon, Proudhon, and Owen, whom he referred to as "friends of humanity and sharp thinkers." "Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms." By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the Marxist-influenced socialism then rising within the Swedish labor movement, Strindberg espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young Strindberg "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life." Although he had been an early proponent of women's rights, calling for women's suffrage in 1884, Strindberg later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely misogynistic statements. His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for The Defence of a Fool, begun in 1887 and published in 1893. Strindberg famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher. Strindberg's misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was Strindberg's anti-Jewish rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked Jews and Judaism as such. The antisemitic outbursts were particularly pronounced in the early 1880s, when Strindberg dedicated an entire chapter ("Moses") in a work of social and political satire, Det nya riket, dedicated to heckling Swedish Jews (including an unflattering portrayal of Albert Bonnier). Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, Jan Myrdal notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of August Strindberg." Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884. A self-declared atheist in his younger years, Strindberg would also re-embrace Christianity, without necessarily making his peace with the church. As noted by Stockholm's Strindberg Museum, the personal and spiritual crisis that Strindberg underwent in Paris in the 1890s, which prompted the writing of Inferno, had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by anarchism, Rousseau, Schopenhauer, and Nietzsche; in the years after the crisis (1897 – 1911) he was influenced by Swedenborg, Goethe, Shakespeare, and Beethoven." In Inferno, Strindberg notes his ideological and spiritual evolution: What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e. the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, Inferno, Chapter XV.) Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, Strindberg remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as Strindberg's descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader Hjalmar Branting, now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism. In 1909, Branting remarked on Strindberg's shifting political and cultural posture, on the occasion of the author's sixtieth birthday: To the young Strindberg, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the Aeropagus of European erudition. But to the Strindberg of Black Banners [1907] and A Blue Book [1907-1912], who, in the shadows of Inferno [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in Social-Demokraten, 22 January 1909.) Toward the end of his life, however, Strindberg would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion. In April 1910, Strindberg launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king Charles XII ("pharao worship"), the lauded poet Verner von Heidenstam ("the spirit-seer of Djursholm"), and the famous author and traveler Sven Hedin ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until Strindberg's death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics. In 1912, Strindberg's funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent. Strindberg's daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, ("Paulsson"). Painting Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. Anders Zorn also did a portrait. Photography Strindberg's interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted; His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific. In 1895 Strindberg met Camille Flammarion and became a member of the Société astronomique de France. He gave some of his experimental astronomical photographs to the Society. Occult studies Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life. In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production. Personal life Strindberg was married three times, as follows: Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans); Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie). Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet. He was related to Nils Strindberg (a son of one of August's cousins). Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house. Bibliography La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p. The Growth of a Soul (1914) The German Lieutenant, and Other Stories (1915) There Are Crimes and Crimes Further reading Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997. (cloth) (bpk) Brita M. E. Mortensen, Brian W. Downs, Strindberg: An Introduction to His Life and Work, Cambridge: Cambridge University Press, 1965 Gundlach, Angelika; Scherzer, Jörg (Ed.): Der andere Strindberg – Materialien zu Malerei, Photographie und Theaterpraxis, Frankfurt a. M.: Insel-Verlag, 1981. ISBN 3-458-31929-8 Prideaux, Sue, Strindberg: A Life, New Haven, CT: Yale University Press, 2012. Schroeder, J., Stenport, A., and Szalczer, E., editors, August Strindberg and Visual Culture, New York: Bloomsbury, 2018. Sprinchorn, Evert, Strindberg As Dramatist, New Haven, CT: Yale University Press, 1982. Stamper, Judith (1975), review of the production of To Damascus at the Traverse Theatre, Edinburgh in April 1975, in Calgacus 2, Summer 1975, p. 56, Sources Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography. Vol. 259 Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. . Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. . Ekman, Hans-Göran. 2000. Strindberg and the Five Senses: Studies in Strindberg's Chamber Plays. London and New Brunswick, New Jersey: Athlone. . Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. . Innes, Christopher, ed. 2000. A Sourcebook on Naturalist Theatre. London and New York: Routledge. . Lagercrantz, Olof. 1984. August Strindberg. Trans. Anselm Hollo. New York: Farrar Straus Giroux. . Lane, Harry. 1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. . . . . . . . . . . . . . Ward, John. 1980. The Social and Religious Plays of Strindberg. London: Athlone. . . . . References External links English-language translations in the public domain Public domain translations of Strindberg's drama The Father, Countess Julie, The Outlaw, The Stronger Comrades, Facing Death, Pariah, Easter Swanwhite, Advent, The Storm There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah To Damascus Part 1 Road To Damascus Parts 1, 2, and 3 Public domain translations of Strindberg's novels The Red Room. The Confession of a Fool. Other Photographs by Strindberg from the National Library of Sweden on Flickr . . . . August Strindberg and absinthe; in his life and in his works . . . . . . . A Dream Play (manuscript) at World Digital Library Burkhart Brückner: Biography of Johan August Strindberg in: Biographical Archive of Psychiatry (BIAPSY). 1849 births 1912 deaths 19th-century alchemists 19th-century essayists 19th-century letter writers 19th-century male artists 19th-century memoirists 19th-century non-fiction writers 19th-century occultists 19th-century short story writers 19th-century Swedish dramatists and playwrights 19th-century Swedish novelists 19th-century Swedish painters 19th-century Swedish photographers 19th-century Swedish poets 19th-century Swedish writers 20th-century alchemists 20th-century essayists 20th-century letter writers 20th-century male artists 20th-century memoirists 20th-century occultists 20th-century short story writers 20th-century Swedish dramatists and playwrights 20th-century Swedish male writers 20th-century Swedish non-fiction writers 20th-century Swedish novelists 20th-century Swedish painters 20th-century Swedish photographers 20th-century Swedish poets Anti-militarism in Europe Anti-monarchists Anti-poverty advocates Artists from Stockholm Burials at Norra begravningsplatsen Critics of Marxism Critics of political economy Critics of religions Cultural critics Deaths from cancer in Sweden European writers in French Expressionist dramatists and playwrights Expressionist painters Irony theorists Literacy and society theorists Literary theorists Male dramatists and playwrights Modernist theatre Modernist writers People prosecuted for blasphemy Psychological fiction writers Social commentators Social critics Surrealist writers Swedish alchemists Swedish anti-capitalists Swedish art critics Swedish autobiographers Swedish essayists Swedish humorists Swedish-language writers Swedish literary critics Swedish male non-fiction writers Swedish male novelists Swedish male painters Swedish male poets Swedish memoirists Swedish occultists Swedish republicans Swedish satirists Swedish short story writers Swedish socialists Swedish theatre critics Swedish theatre directors Theorists on Western civilization Uppsala University alumni Writers about activism and social change Writers from Stockholm	false	[ "Ajeya Pratap Singh (born 1956), formerly known as Ajeya Singh, is a politician belonging to Indian National Congress and 42nd Raja Bahadur of Manda.\n\nPolitical career\nHe was President of the Jan Morcha party in which was later on merged with Indian National Congress in June 2009 but left active politics in 2012.\n\nPersonal life\nHe is the eldest son of 7th Prime Minister of India Shri V. P. Singh. He is married to Shruti Kumari with whom he has two daughters.\n\nControversy \nHe was fined Rs. 10 Lacs by Allahabad High Court in a Land deal case in the year 2008 over cheating of Rs. 1 crore.\n\nHe also stated that there was an attack on his mall in the year 2015.\n\nSources \n\n Manda estate\n Jan Morcha merger with Congress party\n Ajeya Singh- Journey from Investment Banker & Businessman to Politics\n\nReferences\n\n1956 births\nIndian National Congress politicians\nLiving people\nChildren of prime ministers of India\nLok Janshakti Party politicians", "Politics.co.uk is a news and feature website focussing on British politics. For almost a decade up until the summer of 2021, the site was edited by the political journalist, Ian Dunt. Adam Bienkov, the political editor at Business Insider, was previously the Deputy Editor of politics.co.uk.\n\nHistory \nPolitics.co.uk has been covering British politics for over twenty years since it was first established in 2002, and is owned by the digital publishing company, Senate Media.\n\nIn an interview with politics.co.uk during the 2010 General Election, then Prime Minister, Gordon Brown appeared to support tactical voting in that year's UK General Election stating, \"I want everyone to vote Labour\", before adding, \"But if people don't want a Conservative government then they must make sure they don't let the Conservatives in\".\n\nIn 2013, the then UKIP MEP, Godfrey Bloom, attracted controversy after writing an opinion article on politics.co.uk in which he claimed women were more suited to finding \"mustard in the pantry\" than driving cars. Shortly after his 2,000 word article, Bloom lost the UKIP whip.\n\nPolitical outlook \nPolitics.co.uk itself states that it is politically independent. However, it was previously seen to have adopted a strongly anti-Brexit stance under Dunt's Editorship. In 2017, Dunt wrote the book, 'Brexit: What the hell happens now'.\n\nReferences \n\nBritish news websites" ]
[ "August Strindberg", "Politics", "What were Strindberg's political views?", "embraced the view, that politics is a conflict between the upper and lower classes.", "Did he write about his views?", "over the years, and he was never primarily a political writer.", "Did he talk about his political views?", "writer. He was a socialist (or perhaps more of an anarchist, meaning", "How was he an anarchist?", "I don't know.", "Was there controversy over his politics?", "preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and" ]	C_1766e31fc8054f9d84ac10183e72adc5_0	How did these groups respond?	6	How did Strindberg's enemies respond to his politics?	August Strindberg	Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens. The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books. In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle. His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER	politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of	Johan August Strindberg (, ; 22 January 184914 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement. During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as The Ghost Sonata). Biography Youth Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September. Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling. 1870s Strindberg returned to Uppsala University in January 1870 to study aesthetics and modern languages and to work on a number of plays. It was at this time that he first learnt about the ideas of Charles Darwin. He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from runes of the ancient Teutonic alphabet – Strindberg called himself Frö (Seed), after the god of fertility. After abandoning a draft of a play about Eric XIV of Sweden halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called In Rome about Bertel Thorvaldsen, which he had begun the previous autumn. The play was accepted by the Royal Theatre, where it premièred on 13 September 1870. As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable. That year he also first read works of Søren Kierkegaard and Georg Brandes, both of whom influenced him. Taking his cue from William Shakespeare, he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse. During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, Sven the Sacrificer, as a one-act play in prose called The Outlaw. Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on Adam Gottlob Oehlenschläger's Romantic tragedy Earl Haakon (1802). Following further revision in the summer, The Outlaw opened at the Royal Theatre on 16 October 1871. Despite hostile reviews, the play earned him an audience with King Charles XV, who supported his studies with a payment of 200 riksdaler. Towards the end of the year Strindberg completed a first draft of his first major work, a play about Olaus Petri called Master Olof. In September 1872, the Royal Theatre rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions. Returning to the university for what would be his final term in the spring, he left on 2 March 1872, without graduating. In Town and Gown (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors. Strindberg embarked on his career as a journalist and critic for newspapers in Stockholm. He was particularly excited at this time by Henry Thomas Buckle's History of Civilization and the first volume of Georg Brandes' Main Currents of Nineteenth-Century Literature. From December 1874, Strindberg worked for eight years as an assistant librarian at the Royal Library. That same month, Strindberg offered Master Olof to Edvard Stjernström (the director of the newly built New Theatre in Stockholm), but it was rejected. He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in Bern's Restaurant. Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiring actress who, by virtue of her husband, was a baroness – he became infatuated with her. Strindberg described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent." As a result of an argument in January 1876 concerning the inheritance of the family firm, Strindberg's relationship with his father was terminated (he did not attend his funeral in February 1883). From the beginning of 1876, Strindberg and Siri began to meet in secret, and that same year Siri and her husband divorced. Following a successful audition that December, Siri became an actress at the Royal Theatre. They married a year later, on 30 December 1877; Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later. On 9 January 1879, Strindberg was declared bankrupt. In November 1879, his novel The Red Room was published. A satire of Stockholm society, it has frequently been described as the first modern Swedish novel. While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg was hailed as a genius. As a result of The Red Room, he had become famous throughout Scandinavia. Edvard Brandes wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction." In his response to Brandes, Strindberg explained that: 1880s Strindberg and Siri's daughter Karin was born on 26 February 1880. Buoyant from the reception of The Red Room, Strindberg swiftly completed The Secret of the Guild, an historical drama set in Uppsala at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the Royal Theatre on 3 May 1880 (his first première in nine years); Siri played Margaretha. That spring he formed a friendship with the painter Carl Larsson. A collected edition of all of Strindberg's previous writings was published under the title Spring Harvest. From 1881, at the invitation of Edvard Brandes, Strindberg began to contribute articles to the Morgenbladet, a Copenhagen daily newspaper. In April he began work on The Swedish People, a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations. At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again. Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of Kymmendö. That month, a collection of essays from the past ten years, Studies in Cultural History, was published. Ludvig Josephson (the new artistic director of Stockholm's New Theatre) agreed to stage Master Olof, eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of August Lindberg to favourable reviews. While this production of Master Olof was his breakthrough in the theatre, Strindberg's five-act fairy-tale play Lucky Peter's Journey, which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a potboiler. In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season. Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of anti-establishment short stories, The New Kingdom. While there, to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll's House (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882 at the New Theatre. He moved to Grez-sur-Loing, just south of Paris, France, where Larsson was staying. He then moved to Paris, which they found noisy and polluted. Income earned from Lucky Peter's Journey enabled him to move to Switzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans. In 1884 Strindberg wrote a collection of short stories, Getting Married, that presented women in an egalitarian light and for which he was tried for and acquitted of blasphemy in Sweden. Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that Queen Sophia was behind it. By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit. No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up." In May 1885 he wrote: "I am on my way to becoming an atheist." In the wake of the publication of Getting Married, he began to correspond with Émile Zola. During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first. Another collection of stories, Utopias in Reality, was published in September 1885, though it was not well received. In 1885, they moved back to Paris. In September 1887 he began to write a novel in French about his relationship with Siri von Essen called The Defence of a Fool. In 1887, they moved to Issigatsbühl, near Lindau by Lake Constance. His next play, Comrades (1886), was his first in a contemporary setting. After the trial he evaluated his religious beliefs, and concluded that he needed to leave Lutheranism, though he had been Lutheran since childhood; and after briefly being a deist, he became an atheist. He needed a credo and he used Jean-Jacques Rousseau nature worshiping, which he had studied while a student, as one. His works The People of Hemsö (1887) and Among French Peasants (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with Chancellor Otto von Bismarck's Prussia status of the officer corps. After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and By the Open Sea (1890). Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began The Son of a Servant, a four-part autobiography. The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or The Red Room, describes his years as a poet and journalist; it ends with his meeting Siri von Essen. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when Strindberg was wooing von Essen and their marriage; entitled He and She, this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period. In the later half of the 1880s Strindberg discovered Naturalism. After completing The Father in a matter of weeks, he sent a copy to Émile Zola for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing The Father, Strindberg himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in Copenhagen. While there he had several opportunities to meet with both Georg Brandes and his brother Edvard Brandes. Georg helped him put on The Father, which had its première on 14 November 1887 at the Casino Theatre in Copenhagen. It enjoyed a successful run for eleven days after which it toured the Danish provinces. Before writing Creditors, Strindberg completed one of his most famous pieces, Miss Julie. He wrote the play with a Parisian stage in mind, in particular the Théâtre Libre, founded in 1887 by André Antoine. In the play he used Charles Darwin's theory of survival of the fittest and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of Strindberg, the son of a servant, to an aristocratic woman. In the essay On Psychic Murder (1887), he referred to the psychological theories of the Nancy School, which advocated the use of hypnosis. Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as Creditors (1889), The Stronger (1889), and Pariah (1889). In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from Herman Bang, Gustav Wied and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native Finland with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of The Bond and the Link (1893). Strindberg also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was The Stronger (1889). As a result of the failure of the Scandinavian Experimental Theatre, Strindberg did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works. August Strindberg's Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In Strindberg och alkoholen (1985), James Spens discusses Strindberg's drinking habits, including his liking for absinthe and its possible implications for Strindberg's mental health during the inferno period. 1890s After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. Symbolism was just beginning at this time. Verner von Heidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), and The First Warning (1893). His play The Keys of Heaven (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, Playing with Fire (1893), and the first two parts of his post-inferno trilogy To Damascus (1898–1904). In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. Otto Brahm's Freie Bühne theatre premiered some of his famous works in Germany, including The Father, Miss Julie, and Creditors. Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me." Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work. "The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life. Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907). 1900s Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including The Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays. In 1903, Strindberg planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about Martin Luther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical drama in 1908 after the Royal Theatre convinced him to put on a new play for its sixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger of Bjalbo (1909), and The Regents (1909). His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907), and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black Banners Genre Scenes from the Turn of the Century, (1907) have been viewed as precursors to Marcel Proust and Franz Kafka. August Falck, an actor, wanted to put on a production of Miss Julie and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of Miss Julie. August Falck, played Jean and Manda Bjorling played Julie. In 1909, Strindberg thought he might get the Nobel Prize in Literature, but instead lost to Selma Lagerlöf, the first woman and first Swede to win the award. The leader of the Social Democrat Youth Alliance started a fund-raiser for a special "people's award". Nathan Söderblom (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church. In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. Albert Bonniers förlag, who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, Strindberg noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial. In 1912, she would pass away only a few weeks before him. In 1907 Strindberg co-founded The Intimate Theatre in Stockholm, together with the young actor and stage director August Falck. His theatre was modeled after Max Reinhardt's Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, Strindberg also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, Strindberg wrote four chamber plays: Thunder in the Air, The Burned Site, The Ghost Sonata, and The Pelican; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to August Falck: 1. No liquor. 2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5. Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8. Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work. Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in 1907 with a performance of The Pelican it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from Prince Eugen, Duke of Närke, who attended the première of The Pelican. The theatre eventually went bankrupt in 1910, but did not close until Strindberg's death in 1912. The newspapers wrote about the theatre until its death. Death and funeral Strindberg died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland. They jointly published their translations of his plays in book form in 1912. During Christmas 1911, Strindberg became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition. He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63. Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by Nathan Söderblom by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier. Legacy Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche". A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö. Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period. His most famous and produced plays are Master Olof, Miss Julie, and The Father. Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg. The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam. Politics An acerbic polemicist who was often vehemently opposed to conventional authority, Strindberg was difficult to pigeon-hole as a political figure. Through his long career, he penned scathing attacks on the military, the church, and the monarchy. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of cultural radicalism, but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death. Strindberg's opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial enfant terrible of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life. Strindberg was a prolific letter-writer, whose private communications have been collected in several annotated volumes. He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence. Influenced by the history of the 1871 Paris Commune, young Strindberg had embraced the view that politics is a conflict between the upper and lower classes. Early works like the Red Room or Master Olof took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken socialist, mainly influenced by anarchist or libertarian socialist ideas. However, Strindberg's socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants. He read widely among socialist thinkers, including Cabet, Fourier, Babeuf, Saint-Simon, Proudhon, and Owen, whom he referred to as "friends of humanity and sharp thinkers." "Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms." By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the Marxist-influenced socialism then rising within the Swedish labor movement, Strindberg espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young Strindberg "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life." Although he had been an early proponent of women's rights, calling for women's suffrage in 1884, Strindberg later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely misogynistic statements. His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for The Defence of a Fool, begun in 1887 and published in 1893. Strindberg famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher. Strindberg's misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was Strindberg's anti-Jewish rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked Jews and Judaism as such. The antisemitic outbursts were particularly pronounced in the early 1880s, when Strindberg dedicated an entire chapter ("Moses") in a work of social and political satire, Det nya riket, dedicated to heckling Swedish Jews (including an unflattering portrayal of Albert Bonnier). Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, Jan Myrdal notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of August Strindberg." Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884. A self-declared atheist in his younger years, Strindberg would also re-embrace Christianity, without necessarily making his peace with the church. As noted by Stockholm's Strindberg Museum, the personal and spiritual crisis that Strindberg underwent in Paris in the 1890s, which prompted the writing of Inferno, had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by anarchism, Rousseau, Schopenhauer, and Nietzsche; in the years after the crisis (1897 – 1911) he was influenced by Swedenborg, Goethe, Shakespeare, and Beethoven." In Inferno, Strindberg notes his ideological and spiritual evolution: What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e. the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, Inferno, Chapter XV.) Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, Strindberg remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as Strindberg's descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader Hjalmar Branting, now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism. In 1909, Branting remarked on Strindberg's shifting political and cultural posture, on the occasion of the author's sixtieth birthday: To the young Strindberg, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the Aeropagus of European erudition. But to the Strindberg of Black Banners [1907] and A Blue Book [1907-1912], who, in the shadows of Inferno [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in Social-Demokraten, 22 January 1909.) Toward the end of his life, however, Strindberg would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion. In April 1910, Strindberg launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king Charles XII ("pharao worship"), the lauded poet Verner von Heidenstam ("the spirit-seer of Djursholm"), and the famous author and traveler Sven Hedin ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until Strindberg's death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics. In 1912, Strindberg's funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent. Strindberg's daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, ("Paulsson"). Painting Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. Anders Zorn also did a portrait. Photography Strindberg's interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted; His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific. In 1895 Strindberg met Camille Flammarion and became a member of the Société astronomique de France. He gave some of his experimental astronomical photographs to the Society. Occult studies Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life. In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production. Personal life Strindberg was married three times, as follows: Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans); Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie). Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet. He was related to Nils Strindberg (a son of one of August's cousins). Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house. Bibliography La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p. The Growth of a Soul (1914) The German Lieutenant, and Other Stories (1915) There Are Crimes and Crimes Further reading Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997. (cloth) (bpk) Brita M. E. Mortensen, Brian W. Downs, Strindberg: An Introduction to His Life and Work, Cambridge: Cambridge University Press, 1965 Gundlach, Angelika; Scherzer, Jörg (Ed.): Der andere Strindberg – Materialien zu Malerei, Photographie und Theaterpraxis, Frankfurt a. M.: Insel-Verlag, 1981. ISBN 3-458-31929-8 Prideaux, Sue, Strindberg: A Life, New Haven, CT: Yale University Press, 2012. Schroeder, J., Stenport, A., and Szalczer, E., editors, August Strindberg and Visual Culture, New York: Bloomsbury, 2018. Sprinchorn, Evert, Strindberg As Dramatist, New Haven, CT: Yale University Press, 1982. Stamper, Judith (1975), review of the production of To Damascus at the Traverse Theatre, Edinburgh in April 1975, in Calgacus 2, Summer 1975, p. 56, Sources Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography. Vol. 259 Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. . Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. . Ekman, Hans-Göran. 2000. Strindberg and the Five Senses: Studies in Strindberg's Chamber Plays. London and New Brunswick, New Jersey: Athlone. . Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. . Innes, Christopher, ed. 2000. A Sourcebook on Naturalist Theatre. London and New York: Routledge. . Lagercrantz, Olof. 1984. August Strindberg. Trans. Anselm Hollo. New York: Farrar Straus Giroux. . Lane, Harry. 1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. . . . . . . . . . . . . . Ward, John. 1980. The Social and Religious Plays of Strindberg. London: Athlone. . . . . References External links English-language translations in the public domain Public domain translations of Strindberg's drama The Father, Countess Julie, The Outlaw, The Stronger Comrades, Facing Death, Pariah, Easter Swanwhite, Advent, The Storm There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah To Damascus Part 1 Road To Damascus Parts 1, 2, and 3 Public domain translations of Strindberg's novels The Red Room. The Confession of a Fool. Other Photographs by Strindberg from the National Library of Sweden on Flickr . . . . August Strindberg and absinthe; in his life and in his works . . . . . . . A Dream Play (manuscript) at World Digital Library Burkhart Brückner: Biography of Johan August Strindberg in: Biographical Archive of Psychiatry (BIAPSY). 1849 births 1912 deaths 19th-century alchemists 19th-century essayists 19th-century letter writers 19th-century male artists 19th-century memoirists 19th-century non-fiction writers 19th-century occultists 19th-century short story writers 19th-century Swedish dramatists and playwrights 19th-century Swedish novelists 19th-century Swedish painters 19th-century Swedish photographers 19th-century Swedish poets 19th-century Swedish writers 20th-century alchemists 20th-century essayists 20th-century letter writers 20th-century male artists 20th-century memoirists 20th-century occultists 20th-century short story writers 20th-century Swedish dramatists and playwrights 20th-century Swedish male writers 20th-century Swedish non-fiction writers 20th-century Swedish novelists 20th-century Swedish painters 20th-century Swedish photographers 20th-century Swedish poets Anti-militarism in Europe Anti-monarchists Anti-poverty advocates Artists from Stockholm Burials at Norra begravningsplatsen Critics of Marxism Critics of political economy Critics of religions Cultural critics Deaths from cancer in Sweden European writers in French Expressionist dramatists and playwrights Expressionist painters Irony theorists Literacy and society theorists Literary theorists Male dramatists and playwrights Modernist theatre Modernist writers People prosecuted for blasphemy Psychological fiction writers Social commentators Social critics Surrealist writers Swedish alchemists Swedish anti-capitalists Swedish art critics Swedish autobiographers Swedish essayists Swedish humorists Swedish-language writers Swedish literary critics Swedish male non-fiction writers Swedish male novelists Swedish male painters Swedish male poets Swedish memoirists Swedish occultists Swedish republicans Swedish satirists Swedish short story writers Swedish socialists Swedish theatre critics Swedish theatre directors Theorists on Western civilization Uppsala University alumni Writers about activism and social change Writers from Stockholm	false	[ "Big Sound Authority were an English pop band.\n\nThe group was formed in 1983 after Tony Burke (ex-Directions) and Julie Hadwen both wrote to Paul Weller, who was looking for new artists for his then emerging Respond Records label. Hadwen replied to the same advertisement as Tracie Young. Weller introduced them to each other and the newly formed Big Sound Authority recorded the song \"History of the World\" for a Respond Records compilation album, Love The Reason. They toured with other Respond artists such as Tracie and The Questions and were offered a recording contract by Weller, but decided to turn it down.\n\nThey signed instead for the MCA Records imprint Source Records in 1984, and released \"This House (Is Where Your Love Stands)\" in 1985, which was their biggest hit. The band split up in 1986, after releasing three more singles and an album, An Inward Revolution.\n\nThey supported The Kane Gang on tour in 1984, and in 1985 appeared at the Montreux Jazz Festival and the British Big Sound Authority tour. TV appearances included Top of the Pops, Oxford Road Show, The Tube, The Old Grey Whistle Test, and Wogan. They also did Radio One sessions for both Bruno Brookes and Janice Long.\n \nA live DVD, This House Is Where Your Love Stands, named after their biggest hit, was released in 2006.\n\nDiscography\n\nAlbums\nAn Inward Revolution (1985)\n\nSingles\n\"This House (Is Where Your Love Stands)\"/\"I Miss My Baby\" (1985) - UK #21\n\"A Bad Town\"/\"Excuse Me Please\" (1985) - UK #54\n\"Moving Heaven and Earth\"/\"Somebody Up There Likes Her\" (1985)\n\"Don't Let Our Love Start A War\"/\"A Family Thing\" (1986)\n\nReferences\n\nExternal links\nCherry Red Records entry\n\"Music Box: Big Sound Authority\" published 19 November 2008\n\nMusical groups established in 1983\nMusical groups disestablished in 1986\nEnglish pop music groups\nEnglish new wave musical groups", "A growing body of research has begun to highlight differences in the way racial and ethnic groups respond to psychiatric medication.\n\nIt has been noted that there are \"dramatic cross-ethnic and cross-national variations in the dosing practices and side-effect profiles in response to practically all classes of psychotropics.\"\n\nDifferences in drug metabolism\n\nDrug metabolism is controlled by a number of specific enzymes, and the action of these enzymes varies among individuals. For example, most individuals show normal activity of the IID6 isoenzyme that is responsible for the metabolism of many tricyclic antidepressant medications and most antipsychotic drugs. However, studies have found that one-third of Asian Americans and one-third of African Americans have a genetic alteration that decreases the metabolic rate of the IID6 isoenzyme, leading to a greater risk of side effects and toxicity. The CYP2D6 enzyme, important for the way in which the liver clears many drugs from the body, varies greatly between individuals in ways that can be ethnically specific. \nThough enzyme activity is genetically influenced, it can also be altered by cultural and environmental factors such as diet, the use of other medications, alcohol and disease states.\n\nDifferences in pharmacodynamics\nIf two individuals have the same blood level of a medication there may still be differences in the way that the body responds due to pharmacodynamic differences; pharmacodynamic responses may also be influenced by racial and cultural factors.\n\nIn addition to biology and environment, culturally determined attitudes toward illness may affect how an individual responds to psychiatric medication.\n\nCultural factors\n\nIn addition to biology and environment, culturally determined attitudes toward illness and its treatment may affect how an individual responds to psychiatric medication. Some cultures see suffering and illness as unavoidable and not amenable to medication, while others treat symptoms with polypharmacy, often mixing medications with herbal drugs. Cultural differences may have an effect on adherence to medication regimes as well as influence the placebo effect.\n\nFurther, the way an individual expresses and reacts to the symptoms of psychiatric illness, and the cultural expectations of the physician, may affect the diagnosis a patient receives. For example, bipolar disorder often is misdiagnosed as schizophrenia in people of color.\n\nRecommendations for research and practice\n\nThe differential response of many ethnic minorities to certain psychiatric medications raises important concerns for both research and practice.\n\nInclude Ethnic Groups. Most studies of psychiatric medications have white male subjects. Because there is often a greater difference within racial and ethnic groups than between them, researchers must be certain they choose prototypical representatives of these groups, or use a larger random sample.\n\nFurther, because broad racial and ethnic groups have many different subgroups. For example, in North American research it may not be enough to characterize individuals as Asian, Hispanic, Native American, or African American. Even within the same ethnic group, there are no reliable measures to determine important cultural differences.\n\n\"Start Low and Go Slow.\" Individuals who receive a higher dose of psychiatric medication than needed may discontinue treatment because of side effects, or they may develop toxic levels that lead to serious complications. A reasonable approach to prescribing medication to any psychiatric patient, regardless of race or culture, is to \"start low and go slow\".\n\nSomeday there may be a simple blood test to predict how an individual will respond to a specific class of drugs; research in these fields fall in the domain of pharmacogenomics and pharmacometabolomics.\n\nSee also\nPharmacognosy\nRace and health\n\nReferences\n\nExternal links\n Culture and Ethnicity, National Mental Health Information Center\n\nPharmacokinetics\nEthnobiology\nPsychopharmacology\nRace and health" ]
[ "August Strindberg", "Politics", "What were Strindberg's political views?", "embraced the view, that politics is a conflict between the upper and lower classes.", "Did he write about his views?", "over the years, and he was never primarily a political writer.", "Did he talk about his political views?", "writer. He was a socialist (or perhaps more of an anarchist, meaning", "How was he an anarchist?", "I don't know.", "Was there controversy over his politics?", "preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and", "How did these groups respond?", "politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of" ]	C_1766e31fc8054f9d84ac10183e72adc5_0	Did he back any particular politicians?	7	Did Strindberg back any particular politicians?	August Strindberg	Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens. The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books. In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle. His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER	Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884.	Johan August Strindberg (, ; 22 January 184914 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement. During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as The Ghost Sonata). Biography Youth Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September. Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling. 1870s Strindberg returned to Uppsala University in January 1870 to study aesthetics and modern languages and to work on a number of plays. It was at this time that he first learnt about the ideas of Charles Darwin. He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from runes of the ancient Teutonic alphabet – Strindberg called himself Frö (Seed), after the god of fertility. After abandoning a draft of a play about Eric XIV of Sweden halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called In Rome about Bertel Thorvaldsen, which he had begun the previous autumn. The play was accepted by the Royal Theatre, where it premièred on 13 September 1870. As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable. That year he also first read works of Søren Kierkegaard and Georg Brandes, both of whom influenced him. Taking his cue from William Shakespeare, he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse. During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, Sven the Sacrificer, as a one-act play in prose called The Outlaw. Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on Adam Gottlob Oehlenschläger's Romantic tragedy Earl Haakon (1802). Following further revision in the summer, The Outlaw opened at the Royal Theatre on 16 October 1871. Despite hostile reviews, the play earned him an audience with King Charles XV, who supported his studies with a payment of 200 riksdaler. Towards the end of the year Strindberg completed a first draft of his first major work, a play about Olaus Petri called Master Olof. In September 1872, the Royal Theatre rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions. Returning to the university for what would be his final term in the spring, he left on 2 March 1872, without graduating. In Town and Gown (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors. Strindberg embarked on his career as a journalist and critic for newspapers in Stockholm. He was particularly excited at this time by Henry Thomas Buckle's History of Civilization and the first volume of Georg Brandes' Main Currents of Nineteenth-Century Literature. From December 1874, Strindberg worked for eight years as an assistant librarian at the Royal Library. That same month, Strindberg offered Master Olof to Edvard Stjernström (the director of the newly built New Theatre in Stockholm), but it was rejected. He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in Bern's Restaurant. Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiring actress who, by virtue of her husband, was a baroness – he became infatuated with her. Strindberg described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent." As a result of an argument in January 1876 concerning the inheritance of the family firm, Strindberg's relationship with his father was terminated (he did not attend his funeral in February 1883). From the beginning of 1876, Strindberg and Siri began to meet in secret, and that same year Siri and her husband divorced. Following a successful audition that December, Siri became an actress at the Royal Theatre. They married a year later, on 30 December 1877; Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later. On 9 January 1879, Strindberg was declared bankrupt. In November 1879, his novel The Red Room was published. A satire of Stockholm society, it has frequently been described as the first modern Swedish novel. While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg was hailed as a genius. As a result of The Red Room, he had become famous throughout Scandinavia. Edvard Brandes wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction." In his response to Brandes, Strindberg explained that: 1880s Strindberg and Siri's daughter Karin was born on 26 February 1880. Buoyant from the reception of The Red Room, Strindberg swiftly completed The Secret of the Guild, an historical drama set in Uppsala at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the Royal Theatre on 3 May 1880 (his first première in nine years); Siri played Margaretha. That spring he formed a friendship with the painter Carl Larsson. A collected edition of all of Strindberg's previous writings was published under the title Spring Harvest. From 1881, at the invitation of Edvard Brandes, Strindberg began to contribute articles to the Morgenbladet, a Copenhagen daily newspaper. In April he began work on The Swedish People, a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations. At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again. Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of Kymmendö. That month, a collection of essays from the past ten years, Studies in Cultural History, was published. Ludvig Josephson (the new artistic director of Stockholm's New Theatre) agreed to stage Master Olof, eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of August Lindberg to favourable reviews. While this production of Master Olof was his breakthrough in the theatre, Strindberg's five-act fairy-tale play Lucky Peter's Journey, which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a potboiler. In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season. Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of anti-establishment short stories, The New Kingdom. While there, to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll's House (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882 at the New Theatre. He moved to Grez-sur-Loing, just south of Paris, France, where Larsson was staying. He then moved to Paris, which they found noisy and polluted. Income earned from Lucky Peter's Journey enabled him to move to Switzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans. In 1884 Strindberg wrote a collection of short stories, Getting Married, that presented women in an egalitarian light and for which he was tried for and acquitted of blasphemy in Sweden. Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that Queen Sophia was behind it. By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit. No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up." In May 1885 he wrote: "I am on my way to becoming an atheist." In the wake of the publication of Getting Married, he began to correspond with Émile Zola. During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first. Another collection of stories, Utopias in Reality, was published in September 1885, though it was not well received. In 1885, they moved back to Paris. In September 1887 he began to write a novel in French about his relationship with Siri von Essen called The Defence of a Fool. In 1887, they moved to Issigatsbühl, near Lindau by Lake Constance. His next play, Comrades (1886), was his first in a contemporary setting. After the trial he evaluated his religious beliefs, and concluded that he needed to leave Lutheranism, though he had been Lutheran since childhood; and after briefly being a deist, he became an atheist. He needed a credo and he used Jean-Jacques Rousseau nature worshiping, which he had studied while a student, as one. His works The People of Hemsö (1887) and Among French Peasants (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with Chancellor Otto von Bismarck's Prussia status of the officer corps. After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and By the Open Sea (1890). Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began The Son of a Servant, a four-part autobiography. The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or The Red Room, describes his years as a poet and journalist; it ends with his meeting Siri von Essen. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when Strindberg was wooing von Essen and their marriage; entitled He and She, this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period. In the later half of the 1880s Strindberg discovered Naturalism. After completing The Father in a matter of weeks, he sent a copy to Émile Zola for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing The Father, Strindberg himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in Copenhagen. While there he had several opportunities to meet with both Georg Brandes and his brother Edvard Brandes. Georg helped him put on The Father, which had its première on 14 November 1887 at the Casino Theatre in Copenhagen. It enjoyed a successful run for eleven days after which it toured the Danish provinces. Before writing Creditors, Strindberg completed one of his most famous pieces, Miss Julie. He wrote the play with a Parisian stage in mind, in particular the Théâtre Libre, founded in 1887 by André Antoine. In the play he used Charles Darwin's theory of survival of the fittest and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of Strindberg, the son of a servant, to an aristocratic woman. In the essay On Psychic Murder (1887), he referred to the psychological theories of the Nancy School, which advocated the use of hypnosis. Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as Creditors (1889), The Stronger (1889), and Pariah (1889). In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from Herman Bang, Gustav Wied and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native Finland with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of The Bond and the Link (1893). Strindberg also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was The Stronger (1889). As a result of the failure of the Scandinavian Experimental Theatre, Strindberg did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works. August Strindberg's Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In Strindberg och alkoholen (1985), James Spens discusses Strindberg's drinking habits, including his liking for absinthe and its possible implications for Strindberg's mental health during the inferno period. 1890s After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. Symbolism was just beginning at this time. Verner von Heidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), and The First Warning (1893). His play The Keys of Heaven (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, Playing with Fire (1893), and the first two parts of his post-inferno trilogy To Damascus (1898–1904). In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. Otto Brahm's Freie Bühne theatre premiered some of his famous works in Germany, including The Father, Miss Julie, and Creditors. Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me." Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work. "The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life. Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907). 1900s Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including The Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays. In 1903, Strindberg planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about Martin Luther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical drama in 1908 after the Royal Theatre convinced him to put on a new play for its sixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger of Bjalbo (1909), and The Regents (1909). His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907), and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black Banners Genre Scenes from the Turn of the Century, (1907) have been viewed as precursors to Marcel Proust and Franz Kafka. August Falck, an actor, wanted to put on a production of Miss Julie and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of Miss Julie. August Falck, played Jean and Manda Bjorling played Julie. In 1909, Strindberg thought he might get the Nobel Prize in Literature, but instead lost to Selma Lagerlöf, the first woman and first Swede to win the award. The leader of the Social Democrat Youth Alliance started a fund-raiser for a special "people's award". Nathan Söderblom (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church. In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. Albert Bonniers förlag, who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, Strindberg noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial. In 1912, she would pass away only a few weeks before him. In 1907 Strindberg co-founded The Intimate Theatre in Stockholm, together with the young actor and stage director August Falck. His theatre was modeled after Max Reinhardt's Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, Strindberg also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, Strindberg wrote four chamber plays: Thunder in the Air, The Burned Site, The Ghost Sonata, and The Pelican; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to August Falck: 1. No liquor. 2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5. Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8. Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work. Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in 1907 with a performance of The Pelican it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from Prince Eugen, Duke of Närke, who attended the première of The Pelican. The theatre eventually went bankrupt in 1910, but did not close until Strindberg's death in 1912. The newspapers wrote about the theatre until its death. Death and funeral Strindberg died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland. They jointly published their translations of his plays in book form in 1912. During Christmas 1911, Strindberg became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition. He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63. Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by Nathan Söderblom by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier. Legacy Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche". A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö. Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period. His most famous and produced plays are Master Olof, Miss Julie, and The Father. Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg. The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam. Politics An acerbic polemicist who was often vehemently opposed to conventional authority, Strindberg was difficult to pigeon-hole as a political figure. Through his long career, he penned scathing attacks on the military, the church, and the monarchy. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of cultural radicalism, but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death. Strindberg's opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial enfant terrible of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life. Strindberg was a prolific letter-writer, whose private communications have been collected in several annotated volumes. He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence. Influenced by the history of the 1871 Paris Commune, young Strindberg had embraced the view that politics is a conflict between the upper and lower classes. Early works like the Red Room or Master Olof took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken socialist, mainly influenced by anarchist or libertarian socialist ideas. However, Strindberg's socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants. He read widely among socialist thinkers, including Cabet, Fourier, Babeuf, Saint-Simon, Proudhon, and Owen, whom he referred to as "friends of humanity and sharp thinkers." "Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms." By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the Marxist-influenced socialism then rising within the Swedish labor movement, Strindberg espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young Strindberg "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life." Although he had been an early proponent of women's rights, calling for women's suffrage in 1884, Strindberg later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely misogynistic statements. His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for The Defence of a Fool, begun in 1887 and published in 1893. Strindberg famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher. Strindberg's misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was Strindberg's anti-Jewish rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked Jews and Judaism as such. The antisemitic outbursts were particularly pronounced in the early 1880s, when Strindberg dedicated an entire chapter ("Moses") in a work of social and political satire, Det nya riket, dedicated to heckling Swedish Jews (including an unflattering portrayal of Albert Bonnier). Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, Jan Myrdal notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of August Strindberg." Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884. A self-declared atheist in his younger years, Strindberg would also re-embrace Christianity, without necessarily making his peace with the church. As noted by Stockholm's Strindberg Museum, the personal and spiritual crisis that Strindberg underwent in Paris in the 1890s, which prompted the writing of Inferno, had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by anarchism, Rousseau, Schopenhauer, and Nietzsche; in the years after the crisis (1897 – 1911) he was influenced by Swedenborg, Goethe, Shakespeare, and Beethoven." In Inferno, Strindberg notes his ideological and spiritual evolution: What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e. the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, Inferno, Chapter XV.) Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, Strindberg remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as Strindberg's descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader Hjalmar Branting, now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism. In 1909, Branting remarked on Strindberg's shifting political and cultural posture, on the occasion of the author's sixtieth birthday: To the young Strindberg, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the Aeropagus of European erudition. But to the Strindberg of Black Banners [1907] and A Blue Book [1907-1912], who, in the shadows of Inferno [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in Social-Demokraten, 22 January 1909.) Toward the end of his life, however, Strindberg would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion. In April 1910, Strindberg launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king Charles XII ("pharao worship"), the lauded poet Verner von Heidenstam ("the spirit-seer of Djursholm"), and the famous author and traveler Sven Hedin ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until Strindberg's death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics. In 1912, Strindberg's funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent. Strindberg's daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, ("Paulsson"). Painting Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. Anders Zorn also did a portrait. Photography Strindberg's interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted; His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific. In 1895 Strindberg met Camille Flammarion and became a member of the Société astronomique de France. He gave some of his experimental astronomical photographs to the Society. Occult studies Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life. In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production. Personal life Strindberg was married three times, as follows: Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans); Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie). Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet. He was related to Nils Strindberg (a son of one of August's cousins). Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house. Bibliography La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p. The Growth of a Soul (1914) The German Lieutenant, and Other Stories (1915) There Are Crimes and Crimes Further reading Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997. (cloth) (bpk) Brita M. E. Mortensen, Brian W. Downs, Strindberg: An Introduction to His Life and Work, Cambridge: Cambridge University Press, 1965 Gundlach, Angelika; Scherzer, Jörg (Ed.): Der andere Strindberg – Materialien zu Malerei, Photographie und Theaterpraxis, Frankfurt a. M.: Insel-Verlag, 1981. ISBN 3-458-31929-8 Prideaux, Sue, Strindberg: A Life, New Haven, CT: Yale University Press, 2012. Schroeder, J., Stenport, A., and Szalczer, E., editors, August Strindberg and Visual Culture, New York: Bloomsbury, 2018. Sprinchorn, Evert, Strindberg As Dramatist, New Haven, CT: Yale University Press, 1982. Stamper, Judith (1975), review of the production of To Damascus at the Traverse Theatre, Edinburgh in April 1975, in Calgacus 2, Summer 1975, p. 56, Sources Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography. Vol. 259 Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. . Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. . Ekman, Hans-Göran. 2000. Strindberg and the Five Senses: Studies in Strindberg's Chamber Plays. London and New Brunswick, New Jersey: Athlone. . Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. . Innes, Christopher, ed. 2000. A Sourcebook on Naturalist Theatre. London and New York: Routledge. . Lagercrantz, Olof. 1984. August Strindberg. Trans. Anselm Hollo. New York: Farrar Straus Giroux. . Lane, Harry. 1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. . . . . . . . . . . . . . Ward, John. 1980. The Social and Religious Plays of Strindberg. London: Athlone. . . . . References External links English-language translations in the public domain Public domain translations of Strindberg's drama The Father, Countess Julie, The Outlaw, The Stronger Comrades, Facing Death, Pariah, Easter Swanwhite, Advent, The Storm There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah To Damascus Part 1 Road To Damascus Parts 1, 2, and 3 Public domain translations of Strindberg's novels The Red Room. The Confession of a Fool. Other Photographs by Strindberg from the National Library of Sweden on Flickr . . . . August Strindberg and absinthe; in his life and in his works . . . . . . . A Dream Play (manuscript) at World Digital Library Burkhart Brückner: Biography of Johan August Strindberg in: Biographical Archive of Psychiatry (BIAPSY). 1849 births 1912 deaths 19th-century alchemists 19th-century essayists 19th-century letter writers 19th-century male artists 19th-century memoirists 19th-century non-fiction writers 19th-century occultists 19th-century short story writers 19th-century Swedish dramatists and playwrights 19th-century Swedish novelists 19th-century Swedish painters 19th-century Swedish photographers 19th-century Swedish poets 19th-century Swedish writers 20th-century alchemists 20th-century essayists 20th-century letter writers 20th-century male artists 20th-century memoirists 20th-century occultists 20th-century short story writers 20th-century Swedish dramatists and playwrights 20th-century Swedish male writers 20th-century Swedish non-fiction writers 20th-century Swedish novelists 20th-century Swedish painters 20th-century Swedish photographers 20th-century Swedish poets Anti-militarism in Europe Anti-monarchists Anti-poverty advocates Artists from Stockholm Burials at Norra begravningsplatsen Critics of Marxism Critics of political economy Critics of religions Cultural critics Deaths from cancer in Sweden European writers in French Expressionist dramatists and playwrights Expressionist painters Irony theorists Literacy and society theorists Literary theorists Male dramatists and playwrights Modernist theatre Modernist writers People prosecuted for blasphemy Psychological fiction writers Social commentators Social critics Surrealist writers Swedish alchemists Swedish anti-capitalists Swedish art critics Swedish autobiographers Swedish essayists Swedish humorists Swedish-language writers Swedish literary critics Swedish male non-fiction writers Swedish male novelists Swedish male painters Swedish male poets Swedish memoirists Swedish occultists Swedish republicans Swedish satirists Swedish short story writers Swedish socialists Swedish theatre critics Swedish theatre directors Theorists on Western civilization Uppsala University alumni Writers about activism and social change Writers from Stockholm	false	[ "Claus Marius Neergaard (18 July 1911 – 22 December 1990) was a Norwegian politician for the Labour Party.\n\nHe was born in Kristiansund.\n\nHe was elected to the Norwegian Parliament from Møre og Romsdal in 1961. He was not re-elected in 1965, only serving one term. He did not hold any elected positions in local politics.\n\nReferences\n\n1911 births\n1990 deaths\nPoliticians from Kristiansund\nLabour Party (Norway) politicians\nMembers of the Storting\n20th-century Norwegian politicians", "Anant Namjoshi was a politician in Maharashtra state in India, in 1960s and 1970s.\n\nHe started his career with Congress Party, and was elected from Girgaon to the state assembly in 1962 and 1967. In 1972, he entered Vidhan Sabha from Khetwadi seat. He was education minister in Vasantrao Naik's government in 1970s.\n\nIn 1978, he joined Janata Party with his fellow MLA Mohanlal Popat. But he did not take any further part in electoral politics.\n\nReferences \n\nPossibly living people\nMarathi politicians\nIndian politicians" ]
[ "August Strindberg", "Politics", "What were Strindberg's political views?", "embraced the view, that politics is a conflict between the upper and lower classes.", "Did he write about his views?", "over the years, and he was never primarily a political writer.", "Did he talk about his political views?", "writer. He was a socialist (or perhaps more of an anarchist, meaning", "How was he an anarchist?", "I don't know.", "Was there controversy over his politics?", "preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and", "How did these groups respond?", "politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of", "Did he back any particular politicians?", "Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884." ]	C_1766e31fc8054f9d84ac10183e72adc5_0	What other causes did he get behind?	8	What other causes besides women's suffrage did Strindberg get behind?	August Strindberg	Influenced by the history of the Paris Commune, during 1871, young Strindberg embraced the view, that politics is a conflict between the upper and lower classes. He was admired by many as a far-left writer. He was a socialist (or perhaps more of an anarchist, meaning a libertarian socialist, which he himself claimed on at least one occasion). Strindberg's political opinions nevertheless changed considerably within this category over the years, and he was never primarily a political writer. Nor did he often campaign for any one issue, preferring instead to scorn his enemies manifesto-style - the military, the church, the monarchy, the politicians, the stingy publishers, the incompetent reviewers, the narrow-minded, the idiots - and he was not loyal to any party or ideology. Many of his works, however, had at least some politics and sometimes an abundance of it. They often displayed that life and the prevailing system were profoundly unjust and injurious to ordinary citizens. The changing nature of his political positions shows in his changing stance on the women's rights issue. Early on, Strindberg was sympathetic to women of 19th-century Sweden, calling for women's suffrage as early as 1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ... mad ... criminal, instinctively evil animals." This is controversial in contemporary assessments of Strindberg, as have his antisemitic descriptions of Jews (and, in particular, Jewish enemies of his in Swedish cultural life) in some works (e.g., Det nya riket), particularly during the early 1880s. Strindberg's antisemitic pronouncements, just like his opinions of women, have been debated, and also seem to have varied considerably. Many of these attitudes, passions and behaviours may have been developed for literary reasons and ended as soon as he had exploited them in books. In satirizing Swedish society - in particular the upper classes, the cultural and political establishment, and his many personal and professional foes - he could be very confrontational, with scarcely concealed caricatures of political opponents. This could take the form of brutal character disparagement or mockery, and while the presentation was generally skilful, it was not necessarily subtle. His daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, Vladimir Smirnov ("Paulsson"). Because of his political views, Strindberg was promoted strongly in socialist countries in Central and Eastern Europe, as well as in the Soviet Union and Cuba. CANNOTANSWER	1884. However, during other periods he had strongly misogynistic opinions, calling for lawmakers to reconsider the emancipation of these "half-apes ...	Johan August Strindberg (, ; 22 January 184914 May 1912) was a Swedish playwright, novelist, poet, essayist and painter. A prolific writer who often drew directly on his personal experience, Strindberg wrote more than sixty plays and more than thirty works of fiction, autobiography, history, cultural analysis, and politics during his career, which spanned four decades. A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques. From his earliest work, Strindberg developed innovative forms of dramatic action, language, and visual composition. He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel. In Sweden, Strindberg is known as an essayist, painter, poet, and especially as a novelist and playwright, but in other countries he is known mostly as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, when he was thirty-two, that its première at the New Theatre gave him his theatrical breakthrough. In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that – building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play – responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established (opened 1887). In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasized. Strindberg modeled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement. During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult. A series of apparent psychotic attacks between 1894 and 1896 (referred to as his "Inferno crisis") led to his hospitalization and return to Sweden. Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult". In 1898 he returned to play-writing with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage. His A Dream Play (1902) – with its radical attempt to dramatize the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters – was an important precursor to both expressionism and surrealism. He also returned to writing historical drama, the genre with which he had begun his play-writing career. He helped to run the Intimate Theatre from 1907, a small-scale theatre, modeled on Max Reinhardt's , that staged his chamber plays (such as The Ghost Sonata). Biography Youth Strindberg was born on 22 January 1849 in Stockholm, Sweden, the third surviving son of Carl Oscar Strindberg (a shipping agent) and Eleonora Ulrika Norling (a serving-maid). In his autobiographical novel The Son of a Servant, Strindberg describes a childhood affected by "emotional insecurity, poverty, religious fanaticism and neglect". When he was seven, Strindberg moved to Norrtullsgatan on the northern, almost-rural periphery of the city. A year later the family moved near to Sabbatsberg, where they stayed for three years before returning to Norrtullsgatan. He attended a harsh school in Klara for four years, an experience that haunted him in his adult life. He was moved to the school in Jakob in 1860, which he found far more pleasant, though he remained there for only a year. In the autumn of 1861, he was moved to the Stockholm Lyceum, a progressive private school for middle-class boys, where he remained for six years. As a child he had a keen interest in natural science, photography, and religion (following his mother's Pietism). His mother, Strindberg recalled later with bitterness, always resented her son's intelligence. She died when he was thirteen, and although his grief lasted for only three months, in later life he came to feel a sense of loss and longing for an idealized maternal figure. Less than a year after her death, his father married the children's governess, Emilia Charlotta Pettersson. According to his sisters, Strindberg came to regard them as his worst enemies. He passed his graduation examination in May 1867 and enrolled at the Uppsala University, where he began on 13 September. Strindberg spent the next few years in Uppsala and Stockholm, alternately studying for examinations and trying his hand at non-academic pursuits. As a young student, Strindberg also worked as an assistant in a pharmacy in the university town of Lund in southern Sweden. He supported himself in between studies as a substitute primary-school teacher and as a tutor for the children of two well-known physicians in Stockholm. He first left Uppsala in 1868 to work as a schoolteacher, but then studied chemistry for some time at the Institute of Technology in Stockholm in preparation for medical studies, later working as a private tutor before becoming an extra at the Royal Theatre in Stockholm. In May 1869, he failed his qualifying chemistry examination which in turn made him uninterested in schooling. 1870s Strindberg returned to Uppsala University in January 1870 to study aesthetics and modern languages and to work on a number of plays. It was at this time that he first learnt about the ideas of Charles Darwin. He co-founded the Rune Society, a small literary club whose members adopted pseudonyms taken from runes of the ancient Teutonic alphabet – Strindberg called himself Frö (Seed), after the god of fertility. After abandoning a draft of a play about Eric XIV of Sweden halfway through in the face of criticism from the Rune Society, on 30 March he completed a one-act comedy in verse called In Rome about Bertel Thorvaldsen, which he had begun the previous autumn. The play was accepted by the Royal Theatre, where it premièred on 13 September 1870. As he watched it performed, he realised that it was not good and felt like drowning himself, though the reviews published the following day were generally favourable. That year he also first read works of Søren Kierkegaard and Georg Brandes, both of whom influenced him. Taking his cue from William Shakespeare, he began to use colloquial and realistic speech in his historical dramas, which challenged the convention that they should be written in stately verse. During the Christmas holiday of 1870–71, he re-wrote a historical tragedy, Sven the Sacrificer, as a one-act play in prose called The Outlaw. Depressed by Uppsala, he stayed in Stockholm, returning to the university in April to pass an exam in Latin and in June to defend his thesis on Adam Gottlob Oehlenschläger's Romantic tragedy Earl Haakon (1802). Following further revision in the summer, The Outlaw opened at the Royal Theatre on 16 October 1871. Despite hostile reviews, the play earned him an audience with King Charles XV, who supported his studies with a payment of 200 riksdaler. Towards the end of the year Strindberg completed a first draft of his first major work, a play about Olaus Petri called Master Olof. In September 1872, the Royal Theatre rejected it, leading to decades of rewrites, bitterness, and a contempt for official institutions. Returning to the university for what would be his final term in the spring, he left on 2 March 1872, without graduating. In Town and Gown (1877), a collection of short stories describing student life, he ridiculed Uppsala and its professors. Strindberg embarked on his career as a journalist and critic for newspapers in Stockholm. He was particularly excited at this time by Henry Thomas Buckle's History of Civilization and the first volume of Georg Brandes' Main Currents of Nineteenth-Century Literature. From December 1874, Strindberg worked for eight years as an assistant librarian at the Royal Library. That same month, Strindberg offered Master Olof to Edvard Stjernström (the director of the newly built New Theatre in Stockholm), but it was rejected. He socialised with writers, painters, journalists, and other librarians; they often met in the Red Room in Bern's Restaurant. Early in the summer of 1875, he met Siri von Essen, a 24-year-old aspiring actress who, by virtue of her husband, was a baroness – he became infatuated with her. Strindberg described himself as a "failed author" at this time: "I feel like a deaf-mute," he wrote, "as I cannot speak and am not permitted to write; sometimes I stand in the middle of my room that seems like a prison cell, and then I want to scream so that walls and ceilings would fly apart, and I have so much to scream about, and therefore I remain silent." As a result of an argument in January 1876 concerning the inheritance of the family firm, Strindberg's relationship with his father was terminated (he did not attend his funeral in February 1883). From the beginning of 1876, Strindberg and Siri began to meet in secret, and that same year Siri and her husband divorced. Following a successful audition that December, Siri became an actress at the Royal Theatre. They married a year later, on 30 December 1877; Siri was seven months pregnant at the time. Their first child was born prematurely on 21 January 1878 and died two days later. On 9 January 1879, Strindberg was declared bankrupt. In November 1879, his novel The Red Room was published. A satire of Stockholm society, it has frequently been described as the first modern Swedish novel. While receiving mixed reviews in Sweden, it was acclaimed in Denmark, where Strindberg was hailed as a genius. As a result of The Red Room, he had become famous throughout Scandinavia. Edvard Brandes wrote that the novel "makes the reader want to join the fight against hypocrisy and reaction." In his response to Brandes, Strindberg explained that: 1880s Strindberg and Siri's daughter Karin was born on 26 February 1880. Buoyant from the reception of The Red Room, Strindberg swiftly completed The Secret of the Guild, an historical drama set in Uppsala at the beginning of the 15th century about the conflict between two masons over the completion of the city cathedral, which opened at the Royal Theatre on 3 May 1880 (his first première in nine years); Siri played Margaretha. That spring he formed a friendship with the painter Carl Larsson. A collected edition of all of Strindberg's previous writings was published under the title Spring Harvest. From 1881, at the invitation of Edvard Brandes, Strindberg began to contribute articles to the Morgenbladet, a Copenhagen daily newspaper. In April he began work on The Swedish People, a four-part cultural history of Sweden written as a series of depictions of ordinary people's lives from the 9th century onwards, which he undertook mainly for financial reasons and which absorbed him for the next year; Larsson provided illustrations. At Strindberg's insistence, Siri resigned from the Royal Theatre in the spring, having become pregnant again. Their second daughter, Greta, was born on 9 June 1881, while they were staying on the island of Kymmendö. That month, a collection of essays from the past ten years, Studies in Cultural History, was published. Ludvig Josephson (the new artistic director of Stockholm's New Theatre) agreed to stage Master Olof, eventually opting for the prose version – the five-hour-long production opened on 30 December 1881 under the direction of August Lindberg to favourable reviews. While this production of Master Olof was his breakthrough in the theatre, Strindberg's five-act fairy-tale play Lucky Peter's Journey, which opened on 22 December 1883, brought him his first significant success, although he dismissed it as a potboiler. In March 1882 he wrote in a letter to Josephson: "My interest in the theatre, I must frankly state, has but one focus and one goal – my wife's career as an actress"; Josephson duly cast her in two roles the following season. Having returned to Kymmendö during the summer of 1882, Strindberg wrote a collection of anti-establishment short stories, The New Kingdom. While there, to provide a lead role for his wife and as a reply to Henrik Ibsen's A Doll's House (1879), he also wrote Sir Bengt's Wife, which opened on 25 November 1882 at the New Theatre. He moved to Grez-sur-Loing, just south of Paris, France, where Larsson was staying. He then moved to Paris, which they found noisy and polluted. Income earned from Lucky Peter's Journey enabled him to move to Switzerland in 1883. He resided in Ouchy, where he stayed for some years. On 3 April 1884, Siri gave birth to their son, Hans. In 1884 Strindberg wrote a collection of short stories, Getting Married, that presented women in an egalitarian light and for which he was tried for and acquitted of blasphemy in Sweden. Two groups "led by influential members of the upper classes, supported by the right-wing press" probably instigated the prosecution; at the time, most people in Stockholm thought that Queen Sophia was behind it. By the end of that year Strindberg was in a despondent mood: "My view now is," he wrote, "everything is shit. No way out. The skein is too tangled to be unravelled. It can only be sheared. The building is too solid to be pulled down. It can only be blown up." In May 1885 he wrote: "I am on my way to becoming an atheist." In the wake of the publication of Getting Married, he began to correspond with Émile Zola. During the summer he completed a sequel volume of stories, though some were quite different in tone from those of the first. Another collection of stories, Utopias in Reality, was published in September 1885, though it was not well received. In 1885, they moved back to Paris. In September 1887 he began to write a novel in French about his relationship with Siri von Essen called The Defence of a Fool. In 1887, they moved to Issigatsbühl, near Lindau by Lake Constance. His next play, Comrades (1886), was his first in a contemporary setting. After the trial he evaluated his religious beliefs, and concluded that he needed to leave Lutheranism, though he had been Lutheran since childhood; and after briefly being a deist, he became an atheist. He needed a credo and he used Jean-Jacques Rousseau nature worshiping, which he had studied while a student, as one. His works The People of Hemsö (1887) and Among French Peasants (1889) were influenced by his study of Rousseau. He then moved to Germany, where he fell in love with Chancellor Otto von Bismarck's Prussia status of the officer corps. After that, he grew very critical of Rousseau and turned to Friedrich Nietzsche's philosophies, which emphasized the male intellect. Nietzsche's influence can be seen in The Defence of a Fool (1893), Pariah (1889), Creditors (1889), and By the Open Sea (1890). Another change in his life after the trial is that Strindberg decided he wanted a scientific life instead of a literary one, and began to write about non-literary subjects. When he was 37, he began The Son of a Servant, a four-part autobiography. The first part ends in 1867, the year he left home for Uppsala. Part two describes his youth up to 1872. Part three, or The Red Room, describes his years as a poet and journalist; it ends with his meeting Siri von Essen. Part four, which dealt with the years from 1877 to 1886, was banned by his publishers and was not published until after his death. The three missing years, 1875–1877, were the time when Strindberg was wooing von Essen and their marriage; entitled He and She, this portion of his autobiography was not printed until 1919, after his death. It contains the love letters between the two during that period. In the later half of the 1880s Strindberg discovered Naturalism. After completing The Father in a matter of weeks, he sent a copy to Émile Zola for his approval, though Zola's reaction was lukewarm. The drama revolves around the conflict between the Captain, a father, husband, and scientist, and his wife, Laura, over the education of their only child, a fourteen-year-old daughter named Berta. Through unscrupulous means, Laura gets the Captain to doubt his fatherhood until he suffers a mental and physical collapse. While writing The Father, Strindberg himself was experiencing marital problems and doubted the paternity of his children. He also suspected that Ibsen had based Hjalmar Ekdal in The Wild Duck (1884) on Strindberg because he felt that Ibsen viewed him as a weak and pathetic husband; he reworked the situation of Ibsen's play into a warfare between the two sexes. From November 1887 to April 1889, Strindberg stayed in Copenhagen. While there he had several opportunities to meet with both Georg Brandes and his brother Edvard Brandes. Georg helped him put on The Father, which had its première on 14 November 1887 at the Casino Theatre in Copenhagen. It enjoyed a successful run for eleven days after which it toured the Danish provinces. Before writing Creditors, Strindberg completed one of his most famous pieces, Miss Julie. He wrote the play with a Parisian stage in mind, in particular the Théâtre Libre, founded in 1887 by André Antoine. In the play he used Charles Darwin's theory of survival of the fittest and dramatized a doomed sexual encounter that crosses the division of social classes. It is believed that this play was inspired by the marriage of Strindberg, the son of a servant, to an aristocratic woman. In the essay On Psychic Murder (1887), he referred to the psychological theories of the Nancy School, which advocated the use of hypnosis. Strindberg developed a theory that sexual warfare was not motivated by carnal desire but by relentless human will. The winner was the one who had the strongest and most unscrupulous mind, someone who, like a hypnotist, could coerce a more impressionable psyche into submission. His view on psychological power struggles may be seen in works such as Creditors (1889), The Stronger (1889), and Pariah (1889). In 1888, after a separation and reconciliation with Siri von Essen, he founded the Scandinavian Experimental Theatre in Copenhagen, where Siri became manager. He asked writers to send him scripts, which he received from Herman Bang, Gustav Wied and Nathalia Larsen. Less than a year later, with the theatre and reconciliation short lived, he moved back to Sweden while Siri moved back to her native Finland with the children. While there, he rode out the final phase of the divorce and later used this agonizing ordeal for the basis of The Bond and the Link (1893). Strindberg also became interested in short drama, called Quart d'heure. He was inspired by writers such as Gustave Guiche and Henri de Lavedan. His notable contribution was The Stronger (1889). As a result of the failure of the Scandinavian Experimental Theatre, Strindberg did not work as a playwright for three years. In 1889, he published an essay entitled "On Modern Drama and the Modern Theatre", in which he disassociated himself from naturalism, arguing that it was petty and unimaginative realism. His sympathy for Nietzsche's philosophy and atheism in general was also on the wane. He entered the period of his "Inferno crisis," in which he had psychological and religious upheavals that influenced his later works. August Strindberg's Inferno is his personal account of sinking deeper into some kind of madness, typified by visions and paranoia. In Strindberg och alkoholen (1985), James Spens discusses Strindberg's drinking habits, including his liking for absinthe and its possible implications for Strindberg's mental health during the inferno period. 1890s After his disenchantment with naturalism, Strindberg had a growing interest in transcendental matters. Symbolism was just beginning at this time. Verner von Heidenstam and Ola Hanson had dismissed naturalism as "shoemaker realism" that rendered human experience in simplistic terms. This is believed to have stalled Strindberg's creativity, and Strindberg insisted that he was in a rivalry and forced to defend naturalism, even though he had exhausted its literary potential. These works include: Debit and Credit (1892), Facing Death (1892), Motherly Love (1892), and The First Warning (1893). His play The Keys of Heaven (1892) was inspired by the loss of his children in his divorce. He also completed one of his few comedies, Playing with Fire (1893), and the first two parts of his post-inferno trilogy To Damascus (1898–1904). In 1892, he experienced writer's block, which led to a drastic reduction in his income. Depression followed as he was unable to meet his financial obligations and to support his children and former wife. A fund was set up through an appeal in a German magazine. This money allowed him to leave Sweden and he joined artistic circles in Berlin. Otto Brahm's Freie Bühne theatre premiered some of his famous works in Germany, including The Father, Miss Julie, and Creditors. Similar to twenty years earlier when he frequented The Red Room, he now went to the German tavern The Black Porker. Here he met a diverse group of artists from Scandinavia, Poland, and Germany. His attention turned to Frida Uhl, who was twenty-three years younger than Strindberg. They were married in 1893. Less than a year later, their daughter Kerstin was born and the couple separated, though their marriage was not officially dissolved until 1897. Frida's family, in particular her mother, who was a devout Catholic, had an important influence on Strindberg, and in an 1894 letter he declared "I feel the hand of our Lord resting over me." Some critics think that Strindberg suffered from severe paranoia in the mid-1890s, and perhaps that he temporarily experienced insanity. Others, including Evert Sprinchorn and Olof Lagercrantz, believed that he intentionally turned himself into his own guinea pig by doing psychological and drug-induced self-experimentation. He wrote on subjects such as botany, chemistry, and optics before returning to literature with the publication of Inferno (1897), a (half fictionalized) account of his "wilderness years" in Austria and Paris, then a collection of short stories, Legends, and a semi-dramatic novella, Jacob Wrestling (both printed in the same book 1898). Both volumes aroused curiosity and controversy, not least due to the religious element; earlier, Strindberg had been known to be indifferent or hostile to religion and especially priests, but now he had undergone some sort of conversion to a personal faith. In a postscript, he noted the impact of Emanuel Swedenborg on his current work. "The Powers" were central to Strindberg's later work. He said that "the Powers" were an outside force that had caused him his physical and mental suffering because they were acting in retribution to humankind for their wrongdoings. As William Blake, Ralph Waldo Emerson, Honoré de Balzac, and William Butler Yeats had been, he was drawn to Swedenborg's mystical visions, with their depictions of spiritual landscape and Christian morality. Strindberg believed for the rest of his life that the relationship between the transcendental and the real world was described by a series of "correspondences" and that everyday events were really messages from above of which only the enlightened could make sense. He also felt that he was chosen by Providence to atone for the moral decay of others and that his tribulations were payback for misdeeds earlier in his life. Strindberg had spent the tail end of 1896 and most of 1897 in the university town of Lund in southern Sweden, a sojourn during which he made a number of new friendships, felt his mental stability and health improving and also firmly returned to literary writing; Inferno, Legends and Jacob Wrestling were written there. In 1899, he returned permanently to Stockholm, following a successful production there of Master Olof in 1897 (which was re-staged in 1899 to mark Strindberg's fiftieth birthday). He had the desire to become recognized as a leadíng figure in Swedish literature, and to put earlier controversies behind him, and felt that historical dramas were the way to attain that status. Though Strindberg claimed that he was writing "realistically," he freely altered past events and biographical information, and telescoped chronology (as often done in most historical fiction): more importantly, he felt a flow of resurgent inspiration, writing almost twenty new plays (many in a historical setting) between 1898 and 1902. His new works included the so-called Vasa Trilogy: The Saga of the Folkungs (1899), Gustavus Vasa (1899), and Erik XIV (1899) and A Dream Play (written in 1901, first performed in 1907). 1900s Strindberg was pivotal in the creation of chamber plays. Max Reinhardt was a big supporter of his, staging some of his plays at the Kleines Theatre in 1902 (including The Bond, The Stronger, and The Outlaw). Once Otto Brahm relinquished his role as head as of the Deutsches Theatre, Reinhardt took over and produced Strindberg's plays. In 1903, Strindberg planned to write a grand cycle of plays based on world history, but the idea soon faded. He had completed short plays about Martin Luther, Plato, Moses, Jesus Christ, and Socrates. He wrote another historical drama in 1908 after the Royal Theatre convinced him to put on a new play for its sixtieth birthday. He wrote The Last of the Knights (1908), Earl Birger of Bjalbo (1909), and The Regents (1909). His other works, such as Days of Loneliness (1903), The Roofing Ceremony (1907), and The Scapegoat (1907), and the novels The Gothic Rooms (1904) and Black Banners Genre Scenes from the Turn of the Century, (1907) have been viewed as precursors to Marcel Proust and Franz Kafka. August Falck, an actor, wanted to put on a production of Miss Julie and wrote to Strindberg for permission. In September 1906 he staged the first Swedish production of Miss Julie. August Falck, played Jean and Manda Bjorling played Julie. In 1909, Strindberg thought he might get the Nobel Prize in Literature, but instead lost to Selma Lagerlöf, the first woman and first Swede to win the award. The leader of the Social Democrat Youth Alliance started a fund-raiser for a special "people's award". Nathan Söderblom (friend of Strindberg since the mid-90s years in Paris, a prominent theologian and later to become archbishop of Sweden) was noted as a donor, and both he and Strindberg came under attack from circles close to the conservative party and the church. In total 45,000 Swedish crowns were collected, by more than 20,000 donors, most of whom were workers. Albert Bonniers förlag, who had already published much of his work over the years, paid him 200,000 Swedish crowns for the publishing rights to his complete works; the first volumes of the edition would appear in print in 1912, a few months before his death. He invited his first three children (now, like their mother, living in Finland) to Stockholm and divided the money into five shares, one for each child, one for Siri (absent), and the last one for himself. In setting apart one share for Siri, Strindberg noted, in a shy voice, "This is for your mother - it's to settle an old debt". When the children returned to Helsinki, Siri was surprised to hear that she had been included, but accepted the money and told them in a voice that was, according to her daughter Karin, both proud and moved, "I shall accept it, receiving it as an old debt". The debt was less financial than mental and emotional; Strindberg knew he had sometimes treated her unfairly during the later years of their marriage and at their divorce trial. In 1912, she would pass away only a few weeks before him. In 1907 Strindberg co-founded The Intimate Theatre in Stockholm, together with the young actor and stage director August Falck. His theatre was modeled after Max Reinhardt's Kammerspiel Haus. Strindberg and Falck had the intention of the theatre being used for his plays and his plays only, Strindberg also wanted to try out a more chamber-oriented and sparse style of dramatic writing and production. In time for the theatre's opening, Strindberg wrote four chamber plays: Thunder in the Air, The Burned Site, The Ghost Sonata, and The Pelican; these were generally not a success with audiences or newspaper critics at the time but have been highly influential on modern drama (and soon would reach wider audiences at Reinhardt's theatre in Berlin and other German stages). Strindberg had very specific ideas about how the theatre would be opened and operated. He drafted a series of rules for his theatre in a letter to August Falck: 1. No liquor. 2. No Sunday performances. 3. Short performances without intermissions. 4. No calls. 5. Only 160 seats in the auditorium. 6. No prompter. No orchestra, only music on stage. 7. The text will be sold at the box office and in the lobby. 8. Summer performances. Falck helped to design the auditorium, which was decorated in a deep-green tone. The ceiling lighting was a yellow silk cover which created an effect of mild daylight. The floor was covered with a deep-green carpet, and the auditorium was decorated by six ultra modern columns with elaborate up-to-date capitals. Instead of the usual restaurant Strindberg offered a lounge for the ladies and a smoking-room for the gentlemen. The stage was unusually small, only 6 by 9 metres. The small stage and minimal number of seats was meant to give the audience a greater feeling of involvement in the work. Unlike most theatres at this time, the Intima Teater was not a place in which people could come to socialize. By setting up his rules and creating an intimate atmosphere, Strindberg was able to demand the audience's focus. When the theatre opened in 1907 with a performance of The Pelican it was a rather large hit. Strindberg used a minimal technique, as was his way, by only having a back drop and some sea shells on the stage for scene design and props. Strindberg was much more concerned with the actors portraying the written word than the stage looking pretty. The theatre ran into a financial difficulty in February 1908 and Falck had to borrow money from Prince Eugen, Duke of Närke, who attended the première of The Pelican. The theatre eventually went bankrupt in 1910, but did not close until Strindberg's death in 1912. The newspapers wrote about the theatre until its death. Death and funeral Strindberg died shortly after the first staging of one of his plays in the United States — The Father opened on 9 April 1912 at the Berkeley Theatre in New York, in a translation by painter and playwright Edith Gardener Shearn Oland and her husband actor Warner Oland. They jointly published their translations of his plays in book form in 1912. During Christmas 1911, Strindberg became sick with pneumonia and he never recovered completely. He also began to suffer more clearly from a stomach cancer (early signs of which had been felt in 1908). The final weeks of his life were painful. He had long since become a national celebrity, even if highly controversial, and when it became clear that he was seriously ill the daily papers in Stockholm began reporting on his health in every edition. He received many letters and telegrams from admirers across the country. He died on 14 May 1912 at the age of 63. Strindberg was interred at Norra begravningsplatsen in Stockholm. He had given strict instructions concerning his funeral and how his body should be treated after death: only members of his immediate family were allowed to view his body, there would be no obduction, no photographs were taken, and no death mask was made. Strindberg had also requested that his funeral should take place as soon as possible after his death to avoid crowds of onlookers. However, the workers' organisations requested that the funeral should take place on a Sunday to make it possible for working men to pay their respects, and the funeral was postponed for five days, until Sunday, 19 May. According to Strindberg's last wish, the funeral procession was to start at 8am, again to avoid crowds, but large groups of people were nevertheless waiting outside his home as well as at the cemetery, as early as 7am. A short service was conducted by Nathan Söderblom by the bier in Strindberg's home, in the presence of three of Strindberg's children and his housekeeper, after which the coffin was taken outside for the funeral procession. The procession was followed by groups of students, workers, members of Parliament and a couple of cabinet ministers, and it was estimated that up to 60,000 people lined the streets. King Gustaf V sent a wreath for the bier. Legacy Tennessee Williams, Edward Albee, Maxim Gorky, John Osborne, and Ingmar Bergman are among the many artists who have cited Strindberg as an influence. Eugene O'Neill, upon receiving the Nobel Prize in Literature, dedicated much of his acceptance speech to describing Strindberg's influence on his work, and referred to him as "that greatest genius of all modern dramatists." Argentinian writer Jorge Luis Borges said of Strindberg: "[he] was, for a time, my god, alongside Nietzsche". A multi-faceted author, Strindberg was often extreme. His novel The Red Room (1879) made him famous. His early plays belong to the Naturalistic movement. His works from this time are often compared with the Norwegian playwright Henrik Ibsen. Strindberg's best-known play from this period is Miss Julie. Among his most widely read works is the novel The People of Hemsö. Strindberg wanted to attain what he called "greater Naturalism." He disliked the expository character backgrounds that characterise the work of Henrik Ibsen and rejected the convention of a dramatic "slice of life" because he felt that the resulting plays were mundane and uninteresting. Strindberg felt that true naturalism was a psychological "battle of brains": two people who hate each other in the immediate moment and strive to drive the other to doom is the type of mental hostility that Strindberg strove to describe. He intended his plays to be impartial and objective, citing a desire to make literature akin to a science. Following the inner turmoil that he experienced during the "Inferno crisis," he wrote an important book in French, Inferno (1896–7), in which he dramatised his experiences. He also exchanged a few cryptic letters with Friedrich Nietzsche. Strindberg subsequently ended his association with Naturalism and began to produce works informed by Symbolism. He is considered one of the pioneers of the modern European stage and Expressionism. The Dance of Death, A Dream Play, and The Ghost Sonata are well-known plays from this period. His most famous and produced plays are Master Olof, Miss Julie, and The Father. Internationally, Strindberg is chiefly remembered as a playwright, but in his native Sweden his name is associated no less with novels and other writings. Röda rummet (The Red Room), Hemsöborna (The People of Hemsö), Giftas (Getting Married), En dåres försvarstal (The Confession of a Fool), and Inferno remain among his most celebrated novels, representing different genres and styles. He is often, though not universally, viewed as Sweden's greatest author, and taught in schools as a key figure of Swedish culture. The most important contemporary literary award in Sweden, Augustpriset, is named for Strindberg. The Swedish composer Ture Rangström dedicated his first Symphony, which was finished in 1914, to August Strindberg in memoriam. Politics An acerbic polemicist who was often vehemently opposed to conventional authority, Strindberg was difficult to pigeon-hole as a political figure. Through his long career, he penned scathing attacks on the military, the church, and the monarchy. For most of his public life, he was seen as a major figure on the literary left and a standard-bearer of cultural radicalism, but, especially from the 1890s, he espoused conservative and religious views that alienated many former supporters. He resumed his attacks on conservative society with great vigor in the years immediately preceding his death. Strindberg's opinions were typically stated with great force and vitriol, and sometimes humorously over-stated. He was involved in a variety of crises and feuds, skirmishing regularly with the literary and cultural establishment of his day, including erstwhile allies and friends. His youthful reputation as a genial enfant terrible of Swedish literature, transformed, eventually, into the role of a sort of ill-tempered towering giant of Swedish public life. Strindberg was a prolific letter-writer, whose private communications have been collected in several annotated volumes. He often voiced political views privately to friends and literary acquaintances, phrased in a no-holds-barred jargon of scathing attacks, drastic humor, and flippant hyperbole. Many of his most controversial political statements are drawn from this private correspondence. Influenced by the history of the 1871 Paris Commune, young Strindberg had embraced the view that politics is a conflict between the upper and lower classes. Early works like the Red Room or Master Olof took aim at public hypocrisy, royalty, and organized religion. He was, at this time, an outspoken socialist, mainly influenced by anarchist or libertarian socialist ideas. However, Strindberg's socialism was utopian and undogmatic, rooted less in economic or philosophic doctrine than in a fiery anti-establishment attitude, pitting "the people" against kings, priests, and merchants. He read widely among socialist thinkers, including Cabet, Fourier, Babeuf, Saint-Simon, Proudhon, and Owen, whom he referred to as "friends of humanity and sharp thinkers." "Strindberg adopted ideas from everyone," writes Jan Olsson, who notes that Strindberg lived in a period where "terms like anarchism, socialism, and communism were alternately used as synonyms and as different terms." By the early 1880s, many young political and literary radicals in Sweden had come to view Strindberg as a champion of their causes. However, in contrast to the Marxist-influenced socialism then rising within the Swedish labor movement, Strindberg espoused an older type of utopian, agrarian radicalism accompanied by spiritual and even mystical ideas. His views remained as fluid and eclectic as they were uncompromising, and on certain issues he could be wildly out of step with the younger generation of socialists. To Martin Kylhammar, the young Strindberg "was a 'reactionary radical' whose writing was populist and democratic but who persisted in an antiquated romanticizing of agrarian life." Although he had been an early proponent of women's rights, calling for women's suffrage in 1884, Strindberg later became disenchanted with what he viewed as an unnatural equation of the sexes. In times of personal conflict and marital trouble (which was much of the time), he could lash out with crudely misogynistic statements. His troubled marriage with Siri von Essen, ended in an upsetting divorce in 1891, became the inspiration for The Defence of a Fool, begun in 1887 and published in 1893. Strindberg famously sought to insert a warning to lawmakers against "granting citizens' rights to half-apes, lower beings, sick children, [who are] sick and crazed thirteen times a year during their periods, completely insane while pregnant, and irresponsible throughout the rest of their lives." The paragraph was ultimately removed before printing by his publisher. Strindberg's misogyny was at odds with the younger generation of socialist activists and has drawn attention in contemporary Strindberg scholarship. So was Strindberg's anti-Jewish rhetoric. Although particularly targeting Jewish enemies of his in Swedish cultural life, he also attacked Jews and Judaism as such. The antisemitic outbursts were particularly pronounced in the early 1880s, when Strindberg dedicated an entire chapter ("Moses") in a work of social and political satire, Det nya riket, dedicated to heckling Swedish Jews (including an unflattering portrayal of Albert Bonnier). Although anti-Jewish prejudice was far from uncommon in wider society in the 1880s, Jan Myrdal notes that "the entire liberal and democratic intelligentsia of the time distanced themselves from the older, left-wing antisemitism of August Strindberg." Yet, as with many things, Strindberg's opinions and passions shifted with time. In the mid-1880s he toned down and then mostly ended his anti-Jewish rhetoric, after publicly declaring himself not to be an anti-Semite in 1884. A self-declared atheist in his younger years, Strindberg would also re-embrace Christianity, without necessarily making his peace with the church. As noted by Stockholm's Strindberg Museum, the personal and spiritual crisis that Strindberg underwent in Paris in the 1890s, which prompted the writing of Inferno, had aesthetic as well as philosophical and political implications: "Before the Inferno crisis (1869 – 92), Strindberg was influenced by anarchism, Rousseau, Schopenhauer, and Nietzsche; in the years after the crisis (1897 – 1911) he was influenced by Swedenborg, Goethe, Shakespeare, and Beethoven." In Inferno, Strindberg notes his ideological and spiritual evolution: What is the purpose of having toiled through thirty years only to gain, through experience, that which I had already understood as a concept? In my youth, I was a sincere believer, and you [i.e. the powers that be] have made me a free-thinker. Out of a free-thinker you have made me an atheist; out of an atheist, a religious believer. Inspired by humanitarian ideas, I have praised socialism. Five years later, you have proven to me the unreasonableness of socialism. Everything that once enthralled me you have invalidated! And presuming that I will now abandon myself to religion, I am certain that you will, in ten years, disprove religion. (Strindberg, Inferno, Chapter XV.) Despite his reactionary attitudes on issues such as women's rights and his conservative, mystical turn from the early 1890s, Strindberg remained popular with some in the socialist-liberal camp on the strength of his past radicalism and his continued salience as a literary modernizer. However, several former admirers were disappointed and troubled by what they viewed as Strindberg's descent into religious conservatism and, perhaps, madness. His former ally and friend, Social Democrat leader Hjalmar Branting, now dismissed the author as a "disaster" who had betrayed his past ideals for a reactionary, mystical elitism. In 1909, Branting remarked on Strindberg's shifting political and cultural posture, on the occasion of the author's sixtieth birthday: To the young Strindberg, the trail-blazer, the rouser from sleep, let us offer all our praise and admiration. To the writer in a more mature age [let us offer] a place of rank on the Aeropagus of European erudition. But to the Strindberg of Black Banners [1907] and A Blue Book [1907-1912], who, in the shadows of Inferno [1898] has been converted to a belief in the sickly, empty gospels of mysticism – let us wish, from our hearts, that he may once again become his past self. (Hjalmar Branting, in Social-Demokraten, 22 January 1909.) Toward the end of his life, however, Strindberg would dramatically reassert his role as a radical standard-bearer and return to the good graces of progressive Swedish opinion. In April 1910, Strindberg launched a series of unprompted, insult-laden attacks on popular conservative symbols, viciously thrashing the nationalist cult of former king Charles XII ("pharao worship"), the lauded poet Verner von Heidenstam ("the spirit-seer of Djursholm"), and the famous author and traveler Sven Hedin ("the humbug explorer"). The ensuing debate, known as "Strindbergsfejden" or "The Strindberg Feud", is one of the most significant literary debates in Swedish history. It came to comprise about a thousand articles by various authors across some eighty newspapers, raging for two years until Strindberg's death in 1912. The Feud served to revive Strindberg's reputation as an implacable enemy of bourgeois tastes, while also reestablishing beyond doubt his centrality to Swedish culture and politics. In 1912, Strindberg's funeral was co-organized by Branting and heavily attended by members of the Swedish labor movement, with "more than 100 red banners" in attendance alongside the entire Social Democrat parliamentary contingent. Strindberg's daughter Karin Strindberg married a Russian Bolshevik of partially Swedish ancestry, ("Paulsson"). Painting Strindberg, something of a polymath, was also a telegrapher, theosophist, painter, photographer and alchemist. Painting and photography offered vehicles for his belief that chance played a crucial part in the creative process. Strindberg's paintings were unique for their time, and went beyond those of his contemporaries for their radical lack of adherence to visual reality. The 117 paintings that are acknowledged as his were mostly painted within the span of a few years, and are now seen by some as among the most original works of 19th-century art. Today, his best-known pieces are stormy, expressionist seascapes, selling at high prices in auction houses. Though Strindberg was friends with Edvard Munch and Paul Gauguin, and was thus familiar with modern trends, the spontaneous and subjective expressiveness of his landscapes and seascapes can be ascribed also to the fact that he painted only in periods of personal crisis. Anders Zorn also did a portrait. Photography Strindberg's interest in photography resulted, among other things, in a large number of arranged self-portraits in various environments, which now number among the best-known pictures of him. Strindberg also embarked on a series of camera-less images, using an experimental quasi-scientific approach. He produced a type of photogram that encouraged the development and growth of crystals on the photographic emulsion, sometimes exposed for lengthy periods to heat or cold in the open air or at night facing the stars. The suggestiveness of these, which he called Celestographs, provided an object for contemplation, and he noted; His interest in the occult in the 1890s finds sympathy with the chance quality of these images, but for him they are also scientific. In 1895 Strindberg met Camille Flammarion and became a member of the Société astronomique de France. He gave some of his experimental astronomical photographs to the Society. Occult studies Alchemy, occultism, Swedenborgianism, and various other eccentric interests were pursued by Strindberg with some intensity for periods of his life. In the curious and experimental 1897 work Inferno – a dark, paranoid, and confusing tale of his time in Paris, written in French, which takes the form of an autobiographical journal – Strindberg, as the narrator, claims to have successfully performed alchemical experiments and cast black magic spells on his daughter. Much of Inferno indicates that the author suffered from paranoid delusions, as he writes of being stalked through Paris, haunted by evil forces, and targeted with mind-altering electric rays emitted by an "infernal machine" covertly installed in his hotel. It remains unclear to what extent the book represents a genuine attempt at autobiography or exaggerates for literary effect. Olof Lagercrantz has suggested that Strindberg staged and imagined elements of the crisis as material for his literary production. Personal life Strindberg was married three times, as follows: Siri von Essen: married 1877–1891 (14 years), 3 daughters (Karin Smirnov, Greta, and another who died in infancy), 1 son (Hans); Frida Uhl: married 1893–1895, (2 years) 1 daughter (Kerstin); and Harriet Bosse: married 1901–1904 (3 years), 1 daughter (Anne-Marie). Strindberg was age 28 and Siri was 27 at the time of their marriage. He was 44 and Frida was 21 when they married, and he was 52 and Harriet was 23 when they married. Late during his life he met the young actress and painter Fanny Falkner (1890–1963) who was 41 years younger than Strindberg. She wrote a book which illuminates his last years, but the exact nature of their relationship is debated. He had a brief affair in Berlin with Dagny Juel before his marriage to Frida; it has been suggested that the news of her murder in 1901 was the reason he cancelled his honeymoon with his third wife, Harriet. He was related to Nils Strindberg (a son of one of August's cousins). Strindberg's relationships with women were troubled and have often been interpreted as misogynistic by contemporaries and modern readers. Marriage and families were being stressed in Strindberg's lifetime as Sweden industrialized and urbanized at a rapid pace. Problems of prostitution and poverty were debated among writers, critics and politicians. His early writing often dealt with the traditional roles of the sexes imposed by society, which he criticized as unjust. Strindberg's last home was Blå tornet in central Stockholm, where he lived from 1908 until 1912. It is now a museum. Of several statues and busts of him erected in Stockholm, the most prominent is Carl Eldh's, erected in 1942 in Tegnérlunden, a park adjoining this house. Bibliography La cruauté et le théâtre de Strindberg de Pascale Roger, coll "Univers théâtral", L'Harmattan, Paris, 2004, 278 p. The Growth of a Soul (1914) The German Lieutenant, and Other Stories (1915) There Are Crimes and Crimes Further reading Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997. (cloth) (bpk) Brita M. E. Mortensen, Brian W. Downs, Strindberg: An Introduction to His Life and Work, Cambridge: Cambridge University Press, 1965 Gundlach, Angelika; Scherzer, Jörg (Ed.): Der andere Strindberg – Materialien zu Malerei, Photographie und Theaterpraxis, Frankfurt a. M.: Insel-Verlag, 1981. ISBN 3-458-31929-8 Prideaux, Sue, Strindberg: A Life, New Haven, CT: Yale University Press, 2012. Schroeder, J., Stenport, A., and Szalczer, E., editors, August Strindberg and Visual Culture, New York: Bloomsbury, 2018. Sprinchorn, Evert, Strindberg As Dramatist, New Haven, CT: Yale University Press, 1982. Stamper, Judith (1975), review of the production of To Damascus at the Traverse Theatre, Edinburgh in April 1975, in Calgacus 2, Summer 1975, p. 56, Sources Adams, Ann-Charlotte Gavel, ed. 2002. Dictionary of Literary Biography. Vol. 259 Twentieth-Century Swedish Writers Before World War II. Detroit, MI: Gale. . Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell University Press. . Ekman, Hans-Göran. 2000. Strindberg and the Five Senses: Studies in Strindberg's Chamber Plays. London and New Brunswick, New Jersey: Athlone. . Gunnarsson, Torsten. 1998. Nordic Landscape Painting in the Nineteenth Century. New Haven: Yale UP. . Innes, Christopher, ed. 2000. A Sourcebook on Naturalist Theatre. London and New York: Routledge. . Lagercrantz, Olof. 1984. August Strindberg. Trans. Anselm Hollo. New York: Farrar Straus Giroux. . Lane, Harry. 1998. "Strindberg, August." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cambridge: Cambridge UP. 1040–41. . . . . . . . . . . . . . Ward, John. 1980. The Social and Religious Plays of Strindberg. London: Athlone. . . . . References External links English-language translations in the public domain Public domain translations of Strindberg's drama The Father, Countess Julie, The Outlaw, The Stronger Comrades, Facing Death, Pariah, Easter Swanwhite, Advent, The Storm There are Crimes and Crimes, Miss Julia, The Stronger, Creditors, and Pariah To Damascus Part 1 Road To Damascus Parts 1, 2, and 3 Public domain translations of Strindberg's novels The Red Room. The Confession of a Fool. Other Photographs by Strindberg from the National Library of Sweden on Flickr . . . . August Strindberg and absinthe; in his life and in his works . . . . . . . A Dream Play (manuscript) at World Digital Library Burkhart Brückner: Biography of Johan August Strindberg in: Biographical Archive of Psychiatry (BIAPSY). 1849 births 1912 deaths 19th-century alchemists 19th-century essayists 19th-century letter writers 19th-century male artists 19th-century memoirists 19th-century non-fiction writers 19th-century occultists 19th-century short story writers 19th-century Swedish dramatists and playwrights 19th-century Swedish novelists 19th-century Swedish painters 19th-century Swedish photographers 19th-century Swedish poets 19th-century Swedish writers 20th-century alchemists 20th-century essayists 20th-century letter writers 20th-century male artists 20th-century memoirists 20th-century occultists 20th-century short story writers 20th-century Swedish dramatists and playwrights 20th-century Swedish male writers 20th-century Swedish non-fiction writers 20th-century Swedish novelists 20th-century Swedish painters 20th-century Swedish photographers 20th-century Swedish poets Anti-militarism in Europe Anti-monarchists Anti-poverty advocates Artists from Stockholm Burials at Norra begravningsplatsen Critics of Marxism Critics of political economy Critics of religions Cultural critics Deaths from cancer in Sweden European writers in French Expressionist dramatists and playwrights Expressionist painters Irony theorists Literacy and society theorists Literary theorists Male dramatists and playwrights Modernist theatre Modernist writers People prosecuted for blasphemy Psychological fiction writers Social commentators Social critics Surrealist writers Swedish alchemists Swedish anti-capitalists Swedish art critics Swedish autobiographers Swedish essayists Swedish humorists Swedish-language writers Swedish literary critics Swedish male non-fiction writers Swedish male novelists Swedish male painters Swedish male poets Swedish memoirists Swedish occultists Swedish republicans Swedish satirists Swedish short story writers Swedish socialists Swedish theatre critics Swedish theatre directors Theorists on Western civilization Uppsala University alumni Writers about activism and social change Writers from Stockholm	false	[ "Doing It is a young adult novel by author Melvin Burgess published in 2003. It is a story about the experiences of a group of English teenagers and their discovery of sex. It is told from the point of view of several young men as they learn about love, relationships, and loss.\n\nPlot\n\nThe plot revolves around a group of British teenagers: Dino, who is the most popular guy at school, and his two best friends, Ben and Jonathon. Dino really likes a beautiful girl named Jackie, the most popular girl in school, but she is unwilling to give him what he wants. This gives Dino the chance to get it from other girls behind Jackie's back. Yet problems arise in Dino's family that causes him to realize sex may not be what he needs. Jonathon likes Deborah, but she is overweight; fearing condemnation from his friends and because of a disgusting looking bump on his penis, he fears showing his true feelings. Ben has been secretly seeing his teacher, Miss Young. He used to love it, but now it overwhelms him. Ben tries to break it off in order to pursue a girl his own age but it causes big trouble for him, Miss Young and his new girlfriend.\n\nReception \nIn 2017, many UK school librarians refused to stock it or lend it to students due to controversial material.\n\nAwards and nominations\nWon the Los Angeles Times Book Prize for Young Adult Fiction in 2004\nNamed to the New York Public Library Books for the Teenage list\n\nTV series adaptation\nThe book was adapted as a TV series under the title Life As We Know It, which, although critically acclaimed, was cancelled.\n\nReferences\n\nExternal links\nReviews of the novel on Goodreads.com\n\n2003 British novels\n2003 children's books\nNovels by Melvin Burgess\nBritish young adult novels\nAndersen Press books", "What You See Is What You Get or WYSIWYG is where computer editing software allows content to be edited in a form that resembles its final appearance.\n\nWhat You See Is What You Get may also refer to:\n\nMusic\n What You See Is What You Get (EP), a 1998 EP by Pitchshifter\n What You See Is What You Get (Glen Goldsmith album), 1988\n What You See Is What You Get (Luke Combs album), 2019\n Whatcha See Is Whatcha Get (album), a 1971 debut album by the band The Dramatics\n\"Whatcha See Is Whatcha Get\" (song), title song from the above The Dramatics album\n \"What You See Is What You Get\" (song), a 1971 song by Stoney & Meatloaf\n \"What U See Is What U Get\", a 1998 song by rapper Xzibit\n \"What U See (Is What U Get)\", a song by Britney Spears from the 2000 album Oops!... I Did It Again\n\nOthers\n What you see is what you get, a term popularized by Geraldine Jones, a character from the television show The Flip Wilson Show\n What You See Is What You Get (book), a 2010 book written by Alan Sugar\n\nSee also\nWYSIWYG (disambiguation)\nWhatcha See Is Whatcha Get (disambiguation)\n\"What You Get Is What You See\", a song by Tina Turner from her 1987 album Break Every Rule\n Stand by Me (Whatcha See Is Whatcha Get), 1971 album by Pretty Purdie and The Playboys" ]
[ "Stan Musial", "1950-54" ]	C_60743ec98be8478ca8c3b2032372f832_0	What happened to Stan Musial during 1955-54?	1	What happened to Stan Musial during 1955-54?	Stan Musial	Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season--a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. CANNOTANSWER	Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game,	Stanley Frank Musial (; born Stanislaw Franciszek Musial; November 21, 1920 – January 19, 2013), nicknamed "Stan the Man", was an American baseball outfielder and first baseman. He spent 22 seasons in Major League Baseball (MLB), playing for the St. Louis Cardinals, from 1941 to 1944 and from 1946 to 1963. Widely considered to be one of the greatest and most consistent hitters in baseball history, Musial was a first-ballot inductee into the Baseball Hall of Fame in 1969. He batted .331 over the course of his career and set National League (NL) records for career hits (3,630), runs batted in (1,951), games played (3,026), at bats (10,972), runs scored (1,949) and doubles (725). His 475 career home runs then ranked second in NL history behind Mel Ott's total of 511. A seven-time batting champion, he was named the National League's (NL) Most Valuable Player (MVP) three times and was a member of three World Series championship teams. He also shares the major league record for the most All-Star Games played (24) with Hank Aaron and Willie Mays. Musial was born in Donora, Pennsylvania, where he frequently played baseball informally or in organized settings, and eventually played on the baseball team at Donora High School. Signed to a professional contract by the St. Louis Cardinals as a pitcher in 1938, Musial was converted into an outfielder and made his major league debut in 1941. Noted for his unique batting stance, he quickly established himself as a consistent and productive hitter. In his first full season, 1942, the Cardinals won the World Series. The following year, he led the NL in six different offensive categories and earned his first MVP award. He was also named to the NL All-Star squad for the first time; he appeared in every All-Star game in every subsequent season he played. Musial won his second World Series championship in 1944, then missed the entire 1945 season while serving in the Navy. After completing his military service during the war, Musial returned to baseball in 1946 and resumed his consistent hitting. That year he earned his second MVP award and third World Series title. His third MVP award came in 1948, when he finished one home run short of winning baseball's Triple Crown. After struggling offensively in 1959, Musial used a personal trainer to help maintain his productivity until he decided to retire in 1963. At the time of his retirement, he held or shared 17 major league records, 29 National League records, and nine All-Star Game records. In addition to overseeing personal businesses, including a restaurant, both before and after his playing career, Musial served as the Cardinals' general manager in 1967, winning the pennant and World Series, then resigning that position. Musial was selected for the Major League Baseball All-Century Team in 1999. In February 2011, President Barack Obama presented Musial with the Presidential Medal of Freedom, the highest civilian award that can be bestowed on a person by the United States government. Early life Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz Musial (originally Musiał; ) and Mary Lancos. His mother was of Carpatho-Rusyn descent, and his father was a Polish immigrant who always referred to his son by the Polish nickname Stasiu, pronounced "Stashu". Young Stan frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also learned about baseball from his neighbor Joe Barbao, a former minor league pitcher. When he enrolled in school, his name was formally changed to Stanley Frank Musial. At age 15, Musial joined the Donora Zincs, a semi-professional team managed by Barbao. In his Zincs debut, he pitched six innings and struck out 13 batters, all of them adults. He played one season on the newly revived Donora High School baseball team, where one of his teammates was Buddy Griffey, father of MLB player Ken Griffey Sr. and grandfather to Ken Griffey Jr. Baseball statistician Bill James described the younger Griffey, in comparison to Musial, as "the second-best left-handed hitting, left-handed throwing outfielder ever born in Donora, Pennsylvania, on November 21." His exploits as a rising player in Pennsylvania earned him the nickname "The Donora Greyhound". Musial also played basketball and was offered an athletic scholarship in that sport by the University of Pittsburgh. Meanwhile, the St. Louis Cardinals had scouted Musial as a pitcher and, in 1937, offered him a professional contract after a workout with their Class D Penn State League affiliate. Musial's father initially resisted the idea of his son pursuing a baseball career, but he reluctantly gave consent after lobbying by his son and his wife. Musial also credited his school librarian Helen Kloz for pointing out that baseball was his dream and advising him to pursue it professionally. In what was then a common practice, the Cardinals did not file the contract with the baseball commissioner's office until June 1938. This preserved Musial's amateur eligibility, and he was still able to participate in high school sports, leading Donora High School's basketball team to a playoff appearance. He then reported to the Cardinals' Class D affiliate in West Virginia, the Williamson Red Birds. Professional baseball career Minor leagues (1938–1941) Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6–6 win–loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary (). Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9–2 record, a 4.30 ERA, and a .352 batting average. Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12–5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt, Musial bought Kerr a $20,000 () home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18–5 pitching record that included 176 strikeouts and 145 walks. Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester—in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season. Major leagues (1941–1944) Musial made his major league debut during the second game of a doubleheader at Sportsman's Park on September 17, 1941. The Cardinals were in the midst of a pennant race with the Brooklyn Dodgers; in 12 games, Musial collected 20 hits for a .426 batting average. Despite Musial's late contributions, the Cardinals finished two and one-half games behind the 100-game-winning Dodgers. Cardinals manager Billy Southworth used Musial as a left fielder to begin 1942, sometimes lifting him for a pinch-hitter against left-handed pitching. Musial was hitting .315 by late June, as the Cardinals resumed battling the Dodgers for first place in the National League (NL). The Cardinals took sole possession of first place on September 13, and when Musial caught a fly ball to end the first game of a doubleheader on September 27 they clinched the pennant with their 105th win. He finished the season with a .315 batting average and 72 runs batted in (RBI) in 140 games. Musial received national publicity when he was named by St. Louis Post-Dispatch sports editor J. Roy Stockton as his choice for Rookie of the Year in a Saturday Evening Post article. The Cardinals played the American League champion New York Yankees in the 1942 World Series. Representing the winning run at home plate in the bottom of the ninth inning of Game 1 at Sportsman's Park, Musial grounded out with the bases loaded to end the game . Musial's first hit of the Series was an RBI single that provided the margin of victory in Game 2, allowing the Cardinals to tie the Series. Over the next three games at Yankee Stadium, Musial had three more hits as the Cardinals defeated the Yankees in the Series four games to one. Musial batted .222 for the Series, with two runs scored. Musial's 1943 season started with a brief contract holdout in spring training. He made the National League All-Star team for the first time as a starting left fielder and got a double in the All-Star Game on July 13. He finished the season leading the major leagues in hitting with a .357 batting average and led the NL in hits (220), doubles (48), triples (20), total bases (347), on-base percentage (.425), and slugging percentage (.562). This performance earned him his first NL Most Valuable Player Award, ahead of teammate and catcher Walker Cooper (.318 batting average). After romping to another NL pennant by 18 games, the Cardinals again faced the Yankees in the 1943 World Series. Musial had a single in the Cardinals' Game 1 loss, and scored a run in a Game 2 win. The Cardinals did not win another game in the Series, but the loser's bonus share paid to each Cardinals player ($4,321.99, ) still amounted to nearly two-thirds of Musial's regular season salary. United States involvement in World War II began to impinge on Musial's baseball career in 1944, as he underwent a physical examination in prelude to possible service in the armed forces. He ultimately remained with the Cardinals for the entire season, posting a .347 batting average with 197 hits. The Cardinals claimed the NL pennant for the third consecutive season, and faced St. Louis's other major league team, the Browns, in the 1944 World Series. The Browns took a 2–1 lead, while Musial hit .250 with no RBI. He broke out in Game 4 with a two-run home run, single, double, and a walk as part of a 5–1 Cardinals win. The Cardinals went on to defeat the Browns in six games, and Musial posted a .304 batting average for the Series. Sojourn in the U.S. Navy (1945–46) Musial enlisted in the United States Navy on January 23, 1945, during World War II. He was initially assigned to non-combat duty at the United States Naval Training Center Bainbridge. In June 1945, he was assigned to Special Services in Hawaii, and was assigned to a ferry launch unit to bring back damaged ship crews entering Pearl Harbor where he was able to play baseball every afternoon in the naval base's eight-team league. After being granted emergency leave to see his ailing father in January 1946, he was briefly assigned to the Philadelphia Navy Yard before his honorable discharge from the Navy as a Seaman Second Class in March 1946. In 2007, Musial received the Navy Memorial's Lone Sailor Award, which honors Navy veterans who have excelled in civilian life. Major leagues (1946–1963) 1946–1949 Rejoining the Cardinals under new manager Eddie Dyer, Musial posted a .388 batting average by the middle of May 1946. He also became close friends with new teammate Red Schoendienst, who had joined the Cardinals during Musial's absence in 1945. During the season, Musial (who was under contract to the Cardinals for $13,500 in 1946) was offered a five-year, $125,000 contract, plus a $50,000 bonus, to join the Mexican League. He declined the offer, and after manager Dyer spoke to club owner Sam Breadon, Musial was given a $5,000 raise later in 1946. It was also during the 1946 season that Musial acquired his nickname of Stan the Man. During the June 23 game against the Dodgers at Ebbets Field, St. Louis Post-Dispatch sportswriter Bob Broeg heard Dodger fans chanting whenever Musial came to bat, but could not understand the words. Later that day over dinner, Broeg asked Cardinals traveling secretary Leo Ward if he had understood what the Dodger fans had been chanting. Ward said, "Every time Stan came up they chanted, 'Here comes the man!'" "'That man,' you mean", Broeg said. "No, the man", replied Ward. Broeg mentioned this story in his Post-Dispatch column, and Musial was thereafter known as Stan "The Man". In June 1946, Dyer began to use Musial as a first baseman. The Cardinals finished the season tied with the Dodgers, prompting a three-game playoff for the pennant. Musial's Game 1 triple and Game 2 double contributed to the Cardinals' two-games-to-none series victory. Facing the Boston Red Sox, the Cardinals won the 1946 World Series four games to three, as Musial had six hits and four RBI. He batted .365 for the season and won his second NL MVP Award, receiving 22 out of a possible 24 first-place votes, finishing ahead of Brooklyn's Dixie Walker (.319 batting average). Musial began the 1947 season by hitting .146 in April. On May 9, team doctor Dr. Robert Hyland confirmed a previous diagnosis of appendicitis, while discovering that Musial was concurrently suffering from tonsillitis. He received treatment, but did not have either his appendix or tonsils surgically removed until after the season ended. Despite his health woes, he finished the year with a batting average of .312. Fully recovered from his ailments, Musial recorded his 1,000th career hit on April 25, 1948. After a May 7 St. Louis Globe-Democrat article criticized baseball players for appearing in cigarette advertisements, he made a personal decision to never again appear in such ads. By June 24, his batting average was .408, prompting Brooklyn pitcher Preacher Roe to comically announce his new method for retiring Musial: "Walk him on four pitches and pick him off first." Given a mid-season pay raise by new Cardinals owner Robert E. Hannegan for his outstanding performance, Musial hit a home run in the All-Star Game. On September 22, he registered five hits in a game for the fourth time in the season, tying a mark set by Ty Cobb in 1922. Musial finished the 1948 season leading the major leagues in batting average (.376), hits (230), doubles (46), triples (18), total bases (429), and slugging percentage (.702). Winning the NL batting title by a 43-point margin, with an on-base percentage lead of 27 points and a 138-point slugging percentage margin—the latter being the largest gap since Rogers Hornsby's 1925 season—Musial became the first player to win three NL MVP awards. If a home run he hit during a rained out game had been counted in his season totals, he would have won the Triple Crown by leading the NL in batting average, home runs, and runs batted in. Anticipating life after his baseball career, Musial began the first of several business partnerships with Julius "Biggie" Garagnani in January 1949, opening "Stan Musial & Biggie's" restaurant. He approached the 1949 season with the intent to try to hit more home runs, stating he had hit 39 the previous season "without trying". His new focus on hitting for power backfired, as pitchers began using the outside part of the plate to induce him to ground out to the first or second baseman. Musial soon stopped focusing on hitting home runs and resumed his consistent offensive production by the end of May. He received his sixth consecutive All-Star player selection and finished the season leading the NL in hits (207) while playing in every game. However, the Cardinals, with 96 wins, finished one game behind the Dodgers. In the late 1940s, when baseball was slowly becoming integrated, Musial—along with his roommate Red Schoendienst—would be lauded by newcomers such as Dodgers' pitcher Don Newcombe for their tolerance. "They never...had the need to sit in the dugout and call a black guy a bunch of names", Newcombe said, "because he was trying to change the game and make it what it should have been in the first place, a game for all people." 1950–1954 Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season—a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial led the National League with a .355 batting average, 355 total bases, 124 runs and 12 triples. He finished second in NL MVP voting for the third year in a row and was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. Oddly enough, as a young child, Colbert was in attendance as Musial set his record. 1955–1959 Musial made his 12th NL All-Star appearance in 1955 as a reserve player, when Cincinnati's Ted Kluszewski outpolled him by 150,000 votes to get on the starting lineup at first base. Musial entered the game as a pinch hitter in the fourth inning, and played left field as the game entered extra innings. Leading off the bottom of the 12th, he hit a home run to give the NL a 6–5 victory. The 1956 season marked another milestone for Musial, when he broke Mel Ott's NL record for extra-base hits on August 12. Earlier that season, Cardinals general manager "Trader Frank" Lane began negotiations to trade him for Philadelphia pitcher Robin Roberts. When Cardinals owner Gussie Busch learned of the possible move, he made it clear that Musial was not available for any trade. Instead, Lane dealt Musial's close friend Schoendienst to the New York Giants; an upset Musial made no immediate comment to the press. On June 11, 1957, Musial tied the NL record for consecutive games played with his 822nd, a streak that began on the last day of the 1951 season. Despite ballot stuffing by Cincinnati Reds fans, he was selected and played in the All-Star Game held at Sportsman's Park. When he overextended his swing while batting during a game on August 23, Musial fractured a bone in his left shoulder socket and tore muscles over his collarbone. He was unable to play again until September 8, ending his consecutive games-played streak at 895. He finished 1957 as Sports Illustrateds "Sportsman of the Year". Musial signed one of the first $100,000 contracts in NL history on January 29, 1958. (According to Baseball Almanac, Hank Greenberg was the first with Pittsburgh in 1947.) He quickly demonstrated a return on the investment by sharing with Willie Mays the inaugural (and for the only time in Musial's career) NL Player of the Month in May (no such award was given in April until 1969) batting .374, with 4 HR, and 16 RBI. Also that month, as he was approaching the 3,000-hit milestone in his major league career, he expressed a desire to record the hit in St. Louis. He ultimately reached the mark with a pinch-hit, sixth inning RBI double at Chicago's Wrigley Field on May 13. The eighth major league player to reach 3,000 hits, and the first to reach the milestone with an extra-base hit, Musial was greeted at St. Louis Union Station that evening by roughly 1,000 fans. Finishing the season in sixth place, the Cardinals embarked on an exhibition tour of Japan, winning 14 of 16 games against top players from the Central and Pacific Japanese Leagues. Taking a new approach to preparation for the 1959 season, Musial was given permission to report late to spring training so that he might conserve his energy for the duration of the year. Musial, at tall, had maintained a weight of around throughout his career. He reported to spring training approximately overweight and in substandard physical condition. He began the season with one hit in 15 at-bats. Despite his early offensive struggles, he single-handedly spoiled potential no-hitters on April 16 and 19. A game-winning home run on May 7 made him the first major league player ever with 400 home runs and 3,000 hits. As he continued to hit at a relatively low pace, his playing time was limited by Cardinals manager Solly Hemus at various points during the season. Seeking more revenue for the players' pension fund, Major League Baseball held two All-Star games in a season for the first time through 1962. Musial made his 16th All-Star appearance (16th season) and pinch-hit in both contests, flying out in the July 7 game and drawing a walk in the August 3 game. He finished the season with 115 regular game appearances, a .255 batting average, 37 runs, and a slugging percentage of .428. During the 1959 season, John F. Kennedy approached Musial about supporting Kennedy's campaign for President, citing their close ages. Musial campaigned for Kennedy later that year and became a supporter of the Democratic Party. On June 30, 1959, Musial was the batter in one of the oddest plays in baseball history. In a game between the Cardinals and Chicago Cubs, he was at the plate with a count of 3–1. Bob Anderson's next pitch was errant, evading catcher Sammy Taylor and rolling all the way to the backstop. Umpire Vic Delmore called ball four, even as Anderson and Taylor contended that Musial had foul tipped the ball. Because the ball was still in play and Delmore was embroiled in an argument with the catcher and pitcher, Musial kept running in attempt to make second base. Seeing that Musial was trying for second, Alvin Dark ran to the backstop to retrieve the ball. The ball wound up in the hands of field announcer Pat Pieper, but Dark ended up getting it back anyway. Absentmindedly, however, Delmore pulled out a new ball and gave it to Taylor. Anderson finally noticed that Musial was trying for second, took the new ball, and threw it to second baseman Tony Taylor. Anderson's throw flew over Taylor's head into the outfield. Dark, at the same time that Anderson threw the new ball, threw the original ball to shortstop Ernie Banks. Musial did not see Dark's throw and only noticed Anderson's ball fly over the second baseman's head, so he tried to go to third base. On his way there, he was tagged by Banks, and after a delay he was ruled out. 1960–1963 Based on his 1959 performance, Musial accepted a pay cut in 1960 from his previous $100,000 salary to $80,000. He was eager to prove that his mediocre performance was the result of improper physical conditioning, and he enlisted the help of Walter Eberhardt, Saint Louis University's director of physical education. In June 1960, newspaper articles began speculating that Musial would soon retire, yet he finished the season with a .275 batting average. He addressed the speculation in September, confirming that he would play again in 1961. His .288 batting average that season reaffirmed his decision. In 1962, Musial posted a .330 batting average, good for third in the batting race, with 19 homers and 82 RBI. As a pinch-hitter, he had 14 base hits in 19 at-bats (.737). Along the way, he established new NL career marks for hits and RBI. That same year on July 8, the 41-year-old Musial became the oldest player ever to hit three home runs in one game. The Cardinals began 1963 by winning 10 of their first 15 games, as Musial posted a .237 batting average. He set a new major league record for career extra-base hits on May 8 and improved his batting average to .277 by the end of the month. Making his 20th All-Star appearance and 24th All-Star Game appearance on July 9, 1963, he pinch-hit in the fifth inning. Asked by general manager Bing Devine on July 26 what his plans were, Musial said that he would retire at season's end. He waited until the Cardinals team picnic on August 12 to publicly announce his decision, hopeful he could retire on a winning note. Musial became a grandfather for the first time in the early hours of September 10; later that day, he hit a home run in his first at-bat. After sweeping a doubleheader on September 15, the Cardinals had won 19 of their last 20 games, and were one game behind the Los Angeles Dodgers. The Dodgers then swept the Cardinals in a three-game series in St. Louis and clinched the NL pennant on September 25. Musial's last game, on September 29, 1963, was preceded by an hour-long retirement ceremony. Speakers at the event included baseball commissioner Ford Frick, Cardinals broadcaster Harry Caray, and Cardinals owner Gussie Busch, who announced that Musial's uniform number "6" would be retired by the team. During the game, Musial recorded a single in the fourth inning, then hit a single to right field that scored teammate Curt Flood in the sixth. Cardinals manager Johnny Keane brought in Gary Kolb as a pinch-runner for Musial, bringing his major league career to an end. Just as he had recorded two base hits in his major league debut, Musial finished his last game with two hits, as well. Musial finished with the all-time National League hits record and second to only Ty Cobb on the all-time Major League list. Musial's last career hit was out of reach of Cincinnati Reds second baseman Pete Rose, who would go on to break Cobb's record to become baseball's all-time hit king. At the time of his retirement, Musial held or shared 17 major league records, 29 NL records, and nine All-Star Game records. Among those records, he ranked as the major league career leader in extra-base hits (1,377) and total bases (6,134). He also held NL career marks in categories such as hits (3,630), games played (3,026), doubles (725), and RBI (1,951). He finished his career with 475 home runs despite never having led the NL in the category. Jerry Lansche speculates Musial would likely have become the second player, after Babe Ruth, with 2,000 RBI, and would have exceeded 500 career home runs had he not served in the military. His lowest full season RBI output before the war was 72 (in 1942) and as he needed only 49 RBI to reach 2,000 for his full career, he certainly would have exceeded 2,000 RBI by playing without injury in 1945. His home run production is a different story and it is highly unlikely he would have reached 500. He did not hit more than 13 home runs in any season before he entered the navy and did not hit as many as 25 (the number he would have needed to become a 500 career homer club member) until 1948, 3 years after returning to baseball from World War II. His career hit total was evenly split between 1,815 hits at home and 1,815 hits on the road. Steven R. Bullock speculates that it is possible that without military service Musial might have continued playing to attempt to exceed Ty Cobb's career hit record of 4,191. He was the first major league player to appear in more than 1,000 games at two different positions, registering 1,896 games in the outfield and 1,016 at first base. Since Musial's retirement in 1963, Tony Gwynn has been the only player to finish his career with a higher lifetime batting average. Hank Aaron has been the only player to surpass his record of 6,134 total bases. In Musial's 3,026 major league appearances, he was never ejected from a game. Speaking about his quiet reputation within the sport's history, sportscaster Bob Costas said, "He didn't hit a homer in his last at-bat; he hit a single. He didn't hit in 56 straight games. He married his high school sweetheart and stayed married to her. ... All Musial represents is more than two decades of sustained excellence and complete decency as a human being." Post-playing career and family life Musial was named a vice president of the St. Louis Cardinals in September 1963, and he remained in that position until after the 1966 season. From February 1964 to January 1967, he also served as President Lyndon B. Johnson's physical fitness adviser, a part-time position created to promote better fitness among American citizens. Before the 1967 season began, the Cardinals named Musial the team's general manager, and he oversaw the club's World Series championship that year. He won the allegiance of Cardinals players by making fair offers from the outset of player-contract negotiations and creating an in-stadium babysitting service so players' wives could attend games. His longtime business partner, Biggie Garagnani, died in June 1967, prompting Musial to devote more time to managing his restaurant and other business interests. He came to realize that the detail-oriented desk job was not his forte. He consequently decided to step down as general manager, before even completing a full year on the job. Musial—like Phil Linz—was noted for his harmonica playing, which included his rendition of "Take Me Out to the Ball Game". Throughout the 1990s, he frequently played the harmonica at public gatherings, such as the annual Baseball Hall of Fame induction ceremony and various charity events. He appeared on the television show Hee Haw in 1985, and in 1994 recorded 18 songs that were sold in tandem with a harmonica-playing instruction booklet. Even though Musial left Donora after high school, he retained close ties to the town throughout the rest of his life. He maintained membership in local social clubs, and regularly sent a local doctor boxes of autographed baseballs, with the town's mayor using some for United Way fundraising. Musial also gave free meals at the restaurant he owned in St. Louis to any customers who presented valid ID proving they were Donora residents. Musial met Lillian Susan Labash, the daughter of a local grocer, in Donora when both were 15, and married her in St. Paul's Catholic Church in Daytona Beach, Florida on May 25, 1940. They had four children: son Richard, and daughters Gerry, Janet, and Jeanie. Lillian Musial died at 91, on May 3, 2012; their marriage had lasted for almost 72 years. During his playing years, Musial believed in racial equality and supported Jackie Robinson's right to play. After learning about the harmful effect of smoking in the 1950s, he refused to endorse tobacco products. Honors and recognition On August 4, 1968, a statue of Musial was erected outside of Busch Memorial Stadium on the northeast grounds of the St. Louis stadium. The statue was moved from its original location to the west side of the new Busch Stadium for its first season in 2006, where it became a popular meeting place for generations of Cardinals fans. Musial's statue is inscribed with a quote attributed to former baseball commissioner Ford Frick: "Here stands baseball's perfect warrior. Here stands baseball's perfect knight." In 1968, Musial received the Golden Plate Award of the American Academy of Achievement. Musial was elected to the Baseball Hall of Fame in his first year of eligibility in , when he was named on 93.2% of the ballots. On June 14, 1973, he was the first inductee into the National Polish-American Hall of Fame, housed at St. Mary's College in Orchard Lake, Michigan. In 1989, he was inducted into the St. Louis Walk of Fame. Five years later, a baseball field was named after him in his hometown of Donora. He was ranked tenth on The Sporting News list of the 100 Greatest Baseball Players published in 1998. He was also one of the 30 players selected to the Major League Baseball All-Century Team, added by a special committee after he finished 11th in fan voting among outfielders. In 2000, he was inducted into the Hall of Famous Missourians, and a bronze bust depicting him is on permanent display in the rotunda of the Missouri State Capitol. In January 2014, the Cardinals announced Musial among 22 former players and personnel to be inducted into the St. Louis Cardinals Hall of Fame Museum for the inaugural class of 2014. Nearly two decades after Musial retired, baseball statistician Bill James and the sabermetrics movement began providing new ways of comparing players across baseball history. In 2001, James ranked Musial the tenth-greatest baseball player in history, and the second-best left fielder of all time. According to Baseball-Reference.com, he ranks fifth all-time among hitters on the Black Ink Test, and third all-time on the Gray Ink Test—measures designed to compare players of different eras. He ranks first on Baseball-Reference's Hall of Fame Monitor Test, and is tied for second in the Hall of Fame Career Standards Test. Despite his statistical accomplishments, he is sometimes referred to as the most underrated or overlooked athlete in modern American sports history. For instance, in his analysis of baseball's under- and overrated players in 2007, sportswriter Jayson Stark said, "I can't think of any all-time great in any sport who gets left out of more who's-the-greatest conversations than Stan Musial." Musial threw out the first pitch in the fifth game of the 2006 World Series and delivered the ceremonial first pitch ball to President Barack Obama at the 2009 Major League Baseball All-Star Game. A "Stan the Man" day was held in his honor by the Cardinals on May 18, 2008. In 2010, another one of the Cardinals' greatest sluggers, Albert Pujols, whose nickname was "El Hombre", said he didn't want to be called "The Man", even in Spanish, because "There is one man that gets that respect, and that is Stan Musial." Also in 2010, the Cardinals launched a campaign to build support for awarding Musial the Presidential Medal of Freedom for his lifetime of achievement and service. The campaign realized its goal, and on February 15, 2011, Musial was awarded the Presidential Medal of Freedom by President Barack Obama who called him "an icon untarnished, a beloved pillar of the community, a gentleman you'd want your kids to emulate." On October 18, 2012, Musial made his final appearance at Busch Stadium, riding in a golf cart around the field before Game 4 of the National League Championship Series. Musial stopped at both dugouts and greeted San Francisco Giants manager Bruce Bochy and Cardinals manager Mike Matheny. The Cardinals would go on to win Game 4 by a score of 8–3, but lost the pennant to the Giants. MLB statistics Hitting Fielding Value Death On January 19, 2013, Musial died at age 92 of natural causes at his home in Ladue, Missouri, on the same day as fellow MLB Hall of Fame inductee Earl Weaver. Musial was surrounded by his family as he died peacefully. Cardinals owner Bill DeWitt, Jr. released the following statement: Upon hearing the news of his death, fans gathered and began an impromptu memorial at his statue outside Busch Stadium; the Cardinals issued a release saying the memorial would be left in place for some time. In a laudatory obituary, The New York Times quoted famed New York manager Leo Durocher: "There is only one way to pitch to Musial—under the plate." Missouri Governor Jay Nixon commented: "Stan Musial was a great American hero who—with the utmost humility—inspired us all to aim high and dream big. The world is emptier today without him, but far better to have known him. The legacy of 'baseball's perfect warrior' will endure and inspire generations to come." St. Louis Mayor Francis Slay tweeted: "Sad as we are, we are fortunate to have had Stan in STL for so long, and are also glad that Stan and Lil are together again." He ordered flags at half-staff in the city. "Major League Baseball has lost one of its true legends in Stan Musial, a Hall of Famer in every sense and a man who led a great American life", Commissioner Bud Selig said. "He was the heart and soul of the historic St. Louis Cardinals franchise for generations, and he served his country during World War II. A recipient of the Presidential Medal of Freedom in 2011, Stan's life embodies baseball's unparalleled history and why this game is the national pastime." Thousands of fans braved cold temperatures on January 24 for a public visitation at the Cathedral Basilica of Saint Louis, where Musial lay in state, dressed in his trademark cardinal-red blazer and with a harmonica in his lapel pocket, flanked by a Navy honor guard. A private funeral Mass was held on Saturday, January 26, 2013, at the New Cathedral in St. Louis, televised locally by KTVI and KPLR as well as Fox Sports Midwest on pay-television. New York's Cardinal Timothy Dolan, who in his first episcopal post served as an auxiliary bishop of the Archdiocese of Saint Louis, was the principal celebrant, and Knoxville's Bishop Richard F. Stika, Musial's former parish priest, was the homilist. Bob Costas gave the principal eulogy, calling him "the genuine hero who as the years and decades passed, and disillusionment came from other directions, never once let us down", and quoting fellow Cooperstown honoree Mickey Mantle, who once said that Musial "was a better player than me because he was a better man than me". Legacy As a reflection of his popularity, Musial has had infrastructure named after him. In May 2011, the Pennsylvania State Senate changed the name of the bridge that carries the C. Vance Deicas Memorial Highway (S.R. 1077) over the Monongahela River from Donora-Monessen Bridge to Stan Musial Bridge after Musial who was a native of the area. In October 2013, the St. Louis Fire Department started operating a fireboat named after Musial. In July 2013, the new Interstate 70 bridge over the Mississippi River between Illinois and Missouri at St. Louis received the official name of Stan Musial Veterans Memorial Bridge. In 2013, the Bob Feller Act of Valor Award honored Musial as one of 37 Baseball Hall of Fame members for his service in the United States Navy during World War II. See also 3,000 hit club DHL Hometown Heroes List of Major League Baseball annual doubles leaders List of Major League Baseball annual triples leaders List of Major League Baseball annual runs scored leaders List of Major League Baseball career at-bat leaders List of Major League Baseball career bases on balls leaders List of Major League Baseball career doubles leaders List of Major League Baseball career extra base hits leaders List of Major League Baseball career games played leaders List of Major League Baseball career on-base percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career plate appearance leaders List of Major League Baseball career runs batted in leaders List of Major League Baseball career runs scored leaders List of Major League Baseball career singles leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career triples leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball players who spent their entire career with one franchise List of Major League Baseball runs records List of Major League Baseball single-season triples leaders List of Major League Baseball triples records List of members of the Baseball Hall of Fame List of Presidential Medal of Freedom recipients List of St. Louis Cardinals in the Baseball Hall of Fame List of St. Louis Cardinals owners and executives List of St. Louis Cardinals team records Lou Gehrig Memorial Award Major League Baseball titles leaders Sporting News Player of the Year Award Sports Illustrated Sportsperson of the Year St. Louis Cardinals all-time roster St. Louis Cardinals award winners and league leaders Notes References Bibliography External links Stan Musial at SABR (Baseball BioProject) Missing Man – Baseball Hall of Fame The National Baseball Hall of Fame Remembers Stan Musial Stan Musial: The Man – slideshow by Life magazine The Sporting News – interview with Stan Musial and Tony Gwynn, July 1997 1920 births 2013 deaths United States Navy personnel of World War II American people of Rusyn descent American people of Polish descent American sportsmen Baseball players from Pennsylvania Baseball players from St. Louis Daytona Beach Islanders players Neurological disease deaths in Missouri Deaths from Alzheimer's disease Major League Baseball first basemen Major League Baseball left fielders Major League Baseball players with retired numbers National Baseball Hall of Fame inductees National League All-Stars National League batting champions National League Most Valuable Player Award winners National League RBI champions People from Donora, Pennsylvania Presidential Medal of Freedom recipients Rochester Red Wings players St. Louis Cardinals executives St. Louis Cardinals players Sportspeople from St. Louis County, Missouri Springfield Cardinals players United States Navy sailors Williamson Colts players Williamson Red Birds players	true	[ "Stan Musial (1920–2013) was an American baseball player.\n\nStan Musial may also refer to:\n Stan Musial (fireboat), a St Louis area fireboat named after Stan Musial\n Stan Musial Bridge, a bridge across the Monongahela River in Pennsylvania, completed in 1989, but renamed after Stan Musial in 2011\n Stan Musial Veterans Memorial Bridge, a bridge across the Missouri River, connecting St Louis, Missouri, and Illinois, completed in 2013", "Stan Musial Bridge may refer to:\nDonora Monessen Bridge in Pennsylvania\nStan Musial Veterans Memorial Bridge in St. Louis, Missouri - East St. Louis, Illinois" ]
[ "Stan Musial", "1950-54", "What happened to Stan Musial during 1955-54?", "Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game," ]	C_60743ec98be8478ca8c3b2032372f832_0	What team was he playing for at this time?	2	What team was Stan Musial playing for during 1955-54?	Stan Musial	Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season--a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. CANNOTANSWER	Cardinals	Stanley Frank Musial (; born Stanislaw Franciszek Musial; November 21, 1920 – January 19, 2013), nicknamed "Stan the Man", was an American baseball outfielder and first baseman. He spent 22 seasons in Major League Baseball (MLB), playing for the St. Louis Cardinals, from 1941 to 1944 and from 1946 to 1963. Widely considered to be one of the greatest and most consistent hitters in baseball history, Musial was a first-ballot inductee into the Baseball Hall of Fame in 1969. He batted .331 over the course of his career and set National League (NL) records for career hits (3,630), runs batted in (1,951), games played (3,026), at bats (10,972), runs scored (1,949) and doubles (725). His 475 career home runs then ranked second in NL history behind Mel Ott's total of 511. A seven-time batting champion, he was named the National League's (NL) Most Valuable Player (MVP) three times and was a member of three World Series championship teams. He also shares the major league record for the most All-Star Games played (24) with Hank Aaron and Willie Mays. Musial was born in Donora, Pennsylvania, where he frequently played baseball informally or in organized settings, and eventually played on the baseball team at Donora High School. Signed to a professional contract by the St. Louis Cardinals as a pitcher in 1938, Musial was converted into an outfielder and made his major league debut in 1941. Noted for his unique batting stance, he quickly established himself as a consistent and productive hitter. In his first full season, 1942, the Cardinals won the World Series. The following year, he led the NL in six different offensive categories and earned his first MVP award. He was also named to the NL All-Star squad for the first time; he appeared in every All-Star game in every subsequent season he played. Musial won his second World Series championship in 1944, then missed the entire 1945 season while serving in the Navy. After completing his military service during the war, Musial returned to baseball in 1946 and resumed his consistent hitting. That year he earned his second MVP award and third World Series title. His third MVP award came in 1948, when he finished one home run short of winning baseball's Triple Crown. After struggling offensively in 1959, Musial used a personal trainer to help maintain his productivity until he decided to retire in 1963. At the time of his retirement, he held or shared 17 major league records, 29 National League records, and nine All-Star Game records. In addition to overseeing personal businesses, including a restaurant, both before and after his playing career, Musial served as the Cardinals' general manager in 1967, winning the pennant and World Series, then resigning that position. Musial was selected for the Major League Baseball All-Century Team in 1999. In February 2011, President Barack Obama presented Musial with the Presidential Medal of Freedom, the highest civilian award that can be bestowed on a person by the United States government. Early life Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz Musial (originally Musiał; ) and Mary Lancos. His mother was of Carpatho-Rusyn descent, and his father was a Polish immigrant who always referred to his son by the Polish nickname Stasiu, pronounced "Stashu". Young Stan frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also learned about baseball from his neighbor Joe Barbao, a former minor league pitcher. When he enrolled in school, his name was formally changed to Stanley Frank Musial. At age 15, Musial joined the Donora Zincs, a semi-professional team managed by Barbao. In his Zincs debut, he pitched six innings and struck out 13 batters, all of them adults. He played one season on the newly revived Donora High School baseball team, where one of his teammates was Buddy Griffey, father of MLB player Ken Griffey Sr. and grandfather to Ken Griffey Jr. Baseball statistician Bill James described the younger Griffey, in comparison to Musial, as "the second-best left-handed hitting, left-handed throwing outfielder ever born in Donora, Pennsylvania, on November 21." His exploits as a rising player in Pennsylvania earned him the nickname "The Donora Greyhound". Musial also played basketball and was offered an athletic scholarship in that sport by the University of Pittsburgh. Meanwhile, the St. Louis Cardinals had scouted Musial as a pitcher and, in 1937, offered him a professional contract after a workout with their Class D Penn State League affiliate. Musial's father initially resisted the idea of his son pursuing a baseball career, but he reluctantly gave consent after lobbying by his son and his wife. Musial also credited his school librarian Helen Kloz for pointing out that baseball was his dream and advising him to pursue it professionally. In what was then a common practice, the Cardinals did not file the contract with the baseball commissioner's office until June 1938. This preserved Musial's amateur eligibility, and he was still able to participate in high school sports, leading Donora High School's basketball team to a playoff appearance. He then reported to the Cardinals' Class D affiliate in West Virginia, the Williamson Red Birds. Professional baseball career Minor leagues (1938–1941) Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6–6 win–loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary (). Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9–2 record, a 4.30 ERA, and a .352 batting average. Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12–5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt, Musial bought Kerr a $20,000 () home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18–5 pitching record that included 176 strikeouts and 145 walks. Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester—in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season. Major leagues (1941–1944) Musial made his major league debut during the second game of a doubleheader at Sportsman's Park on September 17, 1941. The Cardinals were in the midst of a pennant race with the Brooklyn Dodgers; in 12 games, Musial collected 20 hits for a .426 batting average. Despite Musial's late contributions, the Cardinals finished two and one-half games behind the 100-game-winning Dodgers. Cardinals manager Billy Southworth used Musial as a left fielder to begin 1942, sometimes lifting him for a pinch-hitter against left-handed pitching. Musial was hitting .315 by late June, as the Cardinals resumed battling the Dodgers for first place in the National League (NL). The Cardinals took sole possession of first place on September 13, and when Musial caught a fly ball to end the first game of a doubleheader on September 27 they clinched the pennant with their 105th win. He finished the season with a .315 batting average and 72 runs batted in (RBI) in 140 games. Musial received national publicity when he was named by St. Louis Post-Dispatch sports editor J. Roy Stockton as his choice for Rookie of the Year in a Saturday Evening Post article. The Cardinals played the American League champion New York Yankees in the 1942 World Series. Representing the winning run at home plate in the bottom of the ninth inning of Game 1 at Sportsman's Park, Musial grounded out with the bases loaded to end the game . Musial's first hit of the Series was an RBI single that provided the margin of victory in Game 2, allowing the Cardinals to tie the Series. Over the next three games at Yankee Stadium, Musial had three more hits as the Cardinals defeated the Yankees in the Series four games to one. Musial batted .222 for the Series, with two runs scored. Musial's 1943 season started with a brief contract holdout in spring training. He made the National League All-Star team for the first time as a starting left fielder and got a double in the All-Star Game on July 13. He finished the season leading the major leagues in hitting with a .357 batting average and led the NL in hits (220), doubles (48), triples (20), total bases (347), on-base percentage (.425), and slugging percentage (.562). This performance earned him his first NL Most Valuable Player Award, ahead of teammate and catcher Walker Cooper (.318 batting average). After romping to another NL pennant by 18 games, the Cardinals again faced the Yankees in the 1943 World Series. Musial had a single in the Cardinals' Game 1 loss, and scored a run in a Game 2 win. The Cardinals did not win another game in the Series, but the loser's bonus share paid to each Cardinals player ($4,321.99, ) still amounted to nearly two-thirds of Musial's regular season salary. United States involvement in World War II began to impinge on Musial's baseball career in 1944, as he underwent a physical examination in prelude to possible service in the armed forces. He ultimately remained with the Cardinals for the entire season, posting a .347 batting average with 197 hits. The Cardinals claimed the NL pennant for the third consecutive season, and faced St. Louis's other major league team, the Browns, in the 1944 World Series. The Browns took a 2–1 lead, while Musial hit .250 with no RBI. He broke out in Game 4 with a two-run home run, single, double, and a walk as part of a 5–1 Cardinals win. The Cardinals went on to defeat the Browns in six games, and Musial posted a .304 batting average for the Series. Sojourn in the U.S. Navy (1945–46) Musial enlisted in the United States Navy on January 23, 1945, during World War II. He was initially assigned to non-combat duty at the United States Naval Training Center Bainbridge. In June 1945, he was assigned to Special Services in Hawaii, and was assigned to a ferry launch unit to bring back damaged ship crews entering Pearl Harbor where he was able to play baseball every afternoon in the naval base's eight-team league. After being granted emergency leave to see his ailing father in January 1946, he was briefly assigned to the Philadelphia Navy Yard before his honorable discharge from the Navy as a Seaman Second Class in March 1946. In 2007, Musial received the Navy Memorial's Lone Sailor Award, which honors Navy veterans who have excelled in civilian life. Major leagues (1946–1963) 1946–1949 Rejoining the Cardinals under new manager Eddie Dyer, Musial posted a .388 batting average by the middle of May 1946. He also became close friends with new teammate Red Schoendienst, who had joined the Cardinals during Musial's absence in 1945. During the season, Musial (who was under contract to the Cardinals for $13,500 in 1946) was offered a five-year, $125,000 contract, plus a $50,000 bonus, to join the Mexican League. He declined the offer, and after manager Dyer spoke to club owner Sam Breadon, Musial was given a $5,000 raise later in 1946. It was also during the 1946 season that Musial acquired his nickname of Stan the Man. During the June 23 game against the Dodgers at Ebbets Field, St. Louis Post-Dispatch sportswriter Bob Broeg heard Dodger fans chanting whenever Musial came to bat, but could not understand the words. Later that day over dinner, Broeg asked Cardinals traveling secretary Leo Ward if he had understood what the Dodger fans had been chanting. Ward said, "Every time Stan came up they chanted, 'Here comes the man!'" "'That man,' you mean", Broeg said. "No, the man", replied Ward. Broeg mentioned this story in his Post-Dispatch column, and Musial was thereafter known as Stan "The Man". In June 1946, Dyer began to use Musial as a first baseman. The Cardinals finished the season tied with the Dodgers, prompting a three-game playoff for the pennant. Musial's Game 1 triple and Game 2 double contributed to the Cardinals' two-games-to-none series victory. Facing the Boston Red Sox, the Cardinals won the 1946 World Series four games to three, as Musial had six hits and four RBI. He batted .365 for the season and won his second NL MVP Award, receiving 22 out of a possible 24 first-place votes, finishing ahead of Brooklyn's Dixie Walker (.319 batting average). Musial began the 1947 season by hitting .146 in April. On May 9, team doctor Dr. Robert Hyland confirmed a previous diagnosis of appendicitis, while discovering that Musial was concurrently suffering from tonsillitis. He received treatment, but did not have either his appendix or tonsils surgically removed until after the season ended. Despite his health woes, he finished the year with a batting average of .312. Fully recovered from his ailments, Musial recorded his 1,000th career hit on April 25, 1948. After a May 7 St. Louis Globe-Democrat article criticized baseball players for appearing in cigarette advertisements, he made a personal decision to never again appear in such ads. By June 24, his batting average was .408, prompting Brooklyn pitcher Preacher Roe to comically announce his new method for retiring Musial: "Walk him on four pitches and pick him off first." Given a mid-season pay raise by new Cardinals owner Robert E. Hannegan for his outstanding performance, Musial hit a home run in the All-Star Game. On September 22, he registered five hits in a game for the fourth time in the season, tying a mark set by Ty Cobb in 1922. Musial finished the 1948 season leading the major leagues in batting average (.376), hits (230), doubles (46), triples (18), total bases (429), and slugging percentage (.702). Winning the NL batting title by a 43-point margin, with an on-base percentage lead of 27 points and a 138-point slugging percentage margin—the latter being the largest gap since Rogers Hornsby's 1925 season—Musial became the first player to win three NL MVP awards. If a home run he hit during a rained out game had been counted in his season totals, he would have won the Triple Crown by leading the NL in batting average, home runs, and runs batted in. Anticipating life after his baseball career, Musial began the first of several business partnerships with Julius "Biggie" Garagnani in January 1949, opening "Stan Musial & Biggie's" restaurant. He approached the 1949 season with the intent to try to hit more home runs, stating he had hit 39 the previous season "without trying". His new focus on hitting for power backfired, as pitchers began using the outside part of the plate to induce him to ground out to the first or second baseman. Musial soon stopped focusing on hitting home runs and resumed his consistent offensive production by the end of May. He received his sixth consecutive All-Star player selection and finished the season leading the NL in hits (207) while playing in every game. However, the Cardinals, with 96 wins, finished one game behind the Dodgers. In the late 1940s, when baseball was slowly becoming integrated, Musial—along with his roommate Red Schoendienst—would be lauded by newcomers such as Dodgers' pitcher Don Newcombe for their tolerance. "They never...had the need to sit in the dugout and call a black guy a bunch of names", Newcombe said, "because he was trying to change the game and make it what it should have been in the first place, a game for all people." 1950–1954 Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season—a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial led the National League with a .355 batting average, 355 total bases, 124 runs and 12 triples. He finished second in NL MVP voting for the third year in a row and was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. Oddly enough, as a young child, Colbert was in attendance as Musial set his record. 1955–1959 Musial made his 12th NL All-Star appearance in 1955 as a reserve player, when Cincinnati's Ted Kluszewski outpolled him by 150,000 votes to get on the starting lineup at first base. Musial entered the game as a pinch hitter in the fourth inning, and played left field as the game entered extra innings. Leading off the bottom of the 12th, he hit a home run to give the NL a 6–5 victory. The 1956 season marked another milestone for Musial, when he broke Mel Ott's NL record for extra-base hits on August 12. Earlier that season, Cardinals general manager "Trader Frank" Lane began negotiations to trade him for Philadelphia pitcher Robin Roberts. When Cardinals owner Gussie Busch learned of the possible move, he made it clear that Musial was not available for any trade. Instead, Lane dealt Musial's close friend Schoendienst to the New York Giants; an upset Musial made no immediate comment to the press. On June 11, 1957, Musial tied the NL record for consecutive games played with his 822nd, a streak that began on the last day of the 1951 season. Despite ballot stuffing by Cincinnati Reds fans, he was selected and played in the All-Star Game held at Sportsman's Park. When he overextended his swing while batting during a game on August 23, Musial fractured a bone in his left shoulder socket and tore muscles over his collarbone. He was unable to play again until September 8, ending his consecutive games-played streak at 895. He finished 1957 as Sports Illustrateds "Sportsman of the Year". Musial signed one of the first $100,000 contracts in NL history on January 29, 1958. (According to Baseball Almanac, Hank Greenberg was the first with Pittsburgh in 1947.) He quickly demonstrated a return on the investment by sharing with Willie Mays the inaugural (and for the only time in Musial's career) NL Player of the Month in May (no such award was given in April until 1969) batting .374, with 4 HR, and 16 RBI. Also that month, as he was approaching the 3,000-hit milestone in his major league career, he expressed a desire to record the hit in St. Louis. He ultimately reached the mark with a pinch-hit, sixth inning RBI double at Chicago's Wrigley Field on May 13. The eighth major league player to reach 3,000 hits, and the first to reach the milestone with an extra-base hit, Musial was greeted at St. Louis Union Station that evening by roughly 1,000 fans. Finishing the season in sixth place, the Cardinals embarked on an exhibition tour of Japan, winning 14 of 16 games against top players from the Central and Pacific Japanese Leagues. Taking a new approach to preparation for the 1959 season, Musial was given permission to report late to spring training so that he might conserve his energy for the duration of the year. Musial, at tall, had maintained a weight of around throughout his career. He reported to spring training approximately overweight and in substandard physical condition. He began the season with one hit in 15 at-bats. Despite his early offensive struggles, he single-handedly spoiled potential no-hitters on April 16 and 19. A game-winning home run on May 7 made him the first major league player ever with 400 home runs and 3,000 hits. As he continued to hit at a relatively low pace, his playing time was limited by Cardinals manager Solly Hemus at various points during the season. Seeking more revenue for the players' pension fund, Major League Baseball held two All-Star games in a season for the first time through 1962. Musial made his 16th All-Star appearance (16th season) and pinch-hit in both contests, flying out in the July 7 game and drawing a walk in the August 3 game. He finished the season with 115 regular game appearances, a .255 batting average, 37 runs, and a slugging percentage of .428. During the 1959 season, John F. Kennedy approached Musial about supporting Kennedy's campaign for President, citing their close ages. Musial campaigned for Kennedy later that year and became a supporter of the Democratic Party. On June 30, 1959, Musial was the batter in one of the oddest plays in baseball history. In a game between the Cardinals and Chicago Cubs, he was at the plate with a count of 3–1. Bob Anderson's next pitch was errant, evading catcher Sammy Taylor and rolling all the way to the backstop. Umpire Vic Delmore called ball four, even as Anderson and Taylor contended that Musial had foul tipped the ball. Because the ball was still in play and Delmore was embroiled in an argument with the catcher and pitcher, Musial kept running in attempt to make second base. Seeing that Musial was trying for second, Alvin Dark ran to the backstop to retrieve the ball. The ball wound up in the hands of field announcer Pat Pieper, but Dark ended up getting it back anyway. Absentmindedly, however, Delmore pulled out a new ball and gave it to Taylor. Anderson finally noticed that Musial was trying for second, took the new ball, and threw it to second baseman Tony Taylor. Anderson's throw flew over Taylor's head into the outfield. Dark, at the same time that Anderson threw the new ball, threw the original ball to shortstop Ernie Banks. Musial did not see Dark's throw and only noticed Anderson's ball fly over the second baseman's head, so he tried to go to third base. On his way there, he was tagged by Banks, and after a delay he was ruled out. 1960–1963 Based on his 1959 performance, Musial accepted a pay cut in 1960 from his previous $100,000 salary to $80,000. He was eager to prove that his mediocre performance was the result of improper physical conditioning, and he enlisted the help of Walter Eberhardt, Saint Louis University's director of physical education. In June 1960, newspaper articles began speculating that Musial would soon retire, yet he finished the season with a .275 batting average. He addressed the speculation in September, confirming that he would play again in 1961. His .288 batting average that season reaffirmed his decision. In 1962, Musial posted a .330 batting average, good for third in the batting race, with 19 homers and 82 RBI. As a pinch-hitter, he had 14 base hits in 19 at-bats (.737). Along the way, he established new NL career marks for hits and RBI. That same year on July 8, the 41-year-old Musial became the oldest player ever to hit three home runs in one game. The Cardinals began 1963 by winning 10 of their first 15 games, as Musial posted a .237 batting average. He set a new major league record for career extra-base hits on May 8 and improved his batting average to .277 by the end of the month. Making his 20th All-Star appearance and 24th All-Star Game appearance on July 9, 1963, he pinch-hit in the fifth inning. Asked by general manager Bing Devine on July 26 what his plans were, Musial said that he would retire at season's end. He waited until the Cardinals team picnic on August 12 to publicly announce his decision, hopeful he could retire on a winning note. Musial became a grandfather for the first time in the early hours of September 10; later that day, he hit a home run in his first at-bat. After sweeping a doubleheader on September 15, the Cardinals had won 19 of their last 20 games, and were one game behind the Los Angeles Dodgers. The Dodgers then swept the Cardinals in a three-game series in St. Louis and clinched the NL pennant on September 25. Musial's last game, on September 29, 1963, was preceded by an hour-long retirement ceremony. Speakers at the event included baseball commissioner Ford Frick, Cardinals broadcaster Harry Caray, and Cardinals owner Gussie Busch, who announced that Musial's uniform number "6" would be retired by the team. During the game, Musial recorded a single in the fourth inning, then hit a single to right field that scored teammate Curt Flood in the sixth. Cardinals manager Johnny Keane brought in Gary Kolb as a pinch-runner for Musial, bringing his major league career to an end. Just as he had recorded two base hits in his major league debut, Musial finished his last game with two hits, as well. Musial finished with the all-time National League hits record and second to only Ty Cobb on the all-time Major League list. Musial's last career hit was out of reach of Cincinnati Reds second baseman Pete Rose, who would go on to break Cobb's record to become baseball's all-time hit king. At the time of his retirement, Musial held or shared 17 major league records, 29 NL records, and nine All-Star Game records. Among those records, he ranked as the major league career leader in extra-base hits (1,377) and total bases (6,134). He also held NL career marks in categories such as hits (3,630), games played (3,026), doubles (725), and RBI (1,951). He finished his career with 475 home runs despite never having led the NL in the category. Jerry Lansche speculates Musial would likely have become the second player, after Babe Ruth, with 2,000 RBI, and would have exceeded 500 career home runs had he not served in the military. His lowest full season RBI output before the war was 72 (in 1942) and as he needed only 49 RBI to reach 2,000 for his full career, he certainly would have exceeded 2,000 RBI by playing without injury in 1945. His home run production is a different story and it is highly unlikely he would have reached 500. He did not hit more than 13 home runs in any season before he entered the navy and did not hit as many as 25 (the number he would have needed to become a 500 career homer club member) until 1948, 3 years after returning to baseball from World War II. His career hit total was evenly split between 1,815 hits at home and 1,815 hits on the road. Steven R. Bullock speculates that it is possible that without military service Musial might have continued playing to attempt to exceed Ty Cobb's career hit record of 4,191. He was the first major league player to appear in more than 1,000 games at two different positions, registering 1,896 games in the outfield and 1,016 at first base. Since Musial's retirement in 1963, Tony Gwynn has been the only player to finish his career with a higher lifetime batting average. Hank Aaron has been the only player to surpass his record of 6,134 total bases. In Musial's 3,026 major league appearances, he was never ejected from a game. Speaking about his quiet reputation within the sport's history, sportscaster Bob Costas said, "He didn't hit a homer in his last at-bat; he hit a single. He didn't hit in 56 straight games. He married his high school sweetheart and stayed married to her. ... All Musial represents is more than two decades of sustained excellence and complete decency as a human being." Post-playing career and family life Musial was named a vice president of the St. Louis Cardinals in September 1963, and he remained in that position until after the 1966 season. From February 1964 to January 1967, he also served as President Lyndon B. Johnson's physical fitness adviser, a part-time position created to promote better fitness among American citizens. Before the 1967 season began, the Cardinals named Musial the team's general manager, and he oversaw the club's World Series championship that year. He won the allegiance of Cardinals players by making fair offers from the outset of player-contract negotiations and creating an in-stadium babysitting service so players' wives could attend games. His longtime business partner, Biggie Garagnani, died in June 1967, prompting Musial to devote more time to managing his restaurant and other business interests. He came to realize that the detail-oriented desk job was not his forte. He consequently decided to step down as general manager, before even completing a full year on the job. Musial—like Phil Linz—was noted for his harmonica playing, which included his rendition of "Take Me Out to the Ball Game". Throughout the 1990s, he frequently played the harmonica at public gatherings, such as the annual Baseball Hall of Fame induction ceremony and various charity events. He appeared on the television show Hee Haw in 1985, and in 1994 recorded 18 songs that were sold in tandem with a harmonica-playing instruction booklet. Even though Musial left Donora after high school, he retained close ties to the town throughout the rest of his life. He maintained membership in local social clubs, and regularly sent a local doctor boxes of autographed baseballs, with the town's mayor using some for United Way fundraising. Musial also gave free meals at the restaurant he owned in St. Louis to any customers who presented valid ID proving they were Donora residents. Musial met Lillian Susan Labash, the daughter of a local grocer, in Donora when both were 15, and married her in St. Paul's Catholic Church in Daytona Beach, Florida on May 25, 1940. They had four children: son Richard, and daughters Gerry, Janet, and Jeanie. Lillian Musial died at 91, on May 3, 2012; their marriage had lasted for almost 72 years. During his playing years, Musial believed in racial equality and supported Jackie Robinson's right to play. After learning about the harmful effect of smoking in the 1950s, he refused to endorse tobacco products. Honors and recognition On August 4, 1968, a statue of Musial was erected outside of Busch Memorial Stadium on the northeast grounds of the St. Louis stadium. The statue was moved from its original location to the west side of the new Busch Stadium for its first season in 2006, where it became a popular meeting place for generations of Cardinals fans. Musial's statue is inscribed with a quote attributed to former baseball commissioner Ford Frick: "Here stands baseball's perfect warrior. Here stands baseball's perfect knight." In 1968, Musial received the Golden Plate Award of the American Academy of Achievement. Musial was elected to the Baseball Hall of Fame in his first year of eligibility in , when he was named on 93.2% of the ballots. On June 14, 1973, he was the first inductee into the National Polish-American Hall of Fame, housed at St. Mary's College in Orchard Lake, Michigan. In 1989, he was inducted into the St. Louis Walk of Fame. Five years later, a baseball field was named after him in his hometown of Donora. He was ranked tenth on The Sporting News list of the 100 Greatest Baseball Players published in 1998. He was also one of the 30 players selected to the Major League Baseball All-Century Team, added by a special committee after he finished 11th in fan voting among outfielders. In 2000, he was inducted into the Hall of Famous Missourians, and a bronze bust depicting him is on permanent display in the rotunda of the Missouri State Capitol. In January 2014, the Cardinals announced Musial among 22 former players and personnel to be inducted into the St. Louis Cardinals Hall of Fame Museum for the inaugural class of 2014. Nearly two decades after Musial retired, baseball statistician Bill James and the sabermetrics movement began providing new ways of comparing players across baseball history. In 2001, James ranked Musial the tenth-greatest baseball player in history, and the second-best left fielder of all time. According to Baseball-Reference.com, he ranks fifth all-time among hitters on the Black Ink Test, and third all-time on the Gray Ink Test—measures designed to compare players of different eras. He ranks first on Baseball-Reference's Hall of Fame Monitor Test, and is tied for second in the Hall of Fame Career Standards Test. Despite his statistical accomplishments, he is sometimes referred to as the most underrated or overlooked athlete in modern American sports history. For instance, in his analysis of baseball's under- and overrated players in 2007, sportswriter Jayson Stark said, "I can't think of any all-time great in any sport who gets left out of more who's-the-greatest conversations than Stan Musial." Musial threw out the first pitch in the fifth game of the 2006 World Series and delivered the ceremonial first pitch ball to President Barack Obama at the 2009 Major League Baseball All-Star Game. A "Stan the Man" day was held in his honor by the Cardinals on May 18, 2008. In 2010, another one of the Cardinals' greatest sluggers, Albert Pujols, whose nickname was "El Hombre", said he didn't want to be called "The Man", even in Spanish, because "There is one man that gets that respect, and that is Stan Musial." Also in 2010, the Cardinals launched a campaign to build support for awarding Musial the Presidential Medal of Freedom for his lifetime of achievement and service. The campaign realized its goal, and on February 15, 2011, Musial was awarded the Presidential Medal of Freedom by President Barack Obama who called him "an icon untarnished, a beloved pillar of the community, a gentleman you'd want your kids to emulate." On October 18, 2012, Musial made his final appearance at Busch Stadium, riding in a golf cart around the field before Game 4 of the National League Championship Series. Musial stopped at both dugouts and greeted San Francisco Giants manager Bruce Bochy and Cardinals manager Mike Matheny. The Cardinals would go on to win Game 4 by a score of 8–3, but lost the pennant to the Giants. MLB statistics Hitting Fielding Value Death On January 19, 2013, Musial died at age 92 of natural causes at his home in Ladue, Missouri, on the same day as fellow MLB Hall of Fame inductee Earl Weaver. Musial was surrounded by his family as he died peacefully. Cardinals owner Bill DeWitt, Jr. released the following statement: Upon hearing the news of his death, fans gathered and began an impromptu memorial at his statue outside Busch Stadium; the Cardinals issued a release saying the memorial would be left in place for some time. In a laudatory obituary, The New York Times quoted famed New York manager Leo Durocher: "There is only one way to pitch to Musial—under the plate." Missouri Governor Jay Nixon commented: "Stan Musial was a great American hero who—with the utmost humility—inspired us all to aim high and dream big. The world is emptier today without him, but far better to have known him. The legacy of 'baseball's perfect warrior' will endure and inspire generations to come." St. Louis Mayor Francis Slay tweeted: "Sad as we are, we are fortunate to have had Stan in STL for so long, and are also glad that Stan and Lil are together again." He ordered flags at half-staff in the city. "Major League Baseball has lost one of its true legends in Stan Musial, a Hall of Famer in every sense and a man who led a great American life", Commissioner Bud Selig said. "He was the heart and soul of the historic St. Louis Cardinals franchise for generations, and he served his country during World War II. A recipient of the Presidential Medal of Freedom in 2011, Stan's life embodies baseball's unparalleled history and why this game is the national pastime." Thousands of fans braved cold temperatures on January 24 for a public visitation at the Cathedral Basilica of Saint Louis, where Musial lay in state, dressed in his trademark cardinal-red blazer and with a harmonica in his lapel pocket, flanked by a Navy honor guard. A private funeral Mass was held on Saturday, January 26, 2013, at the New Cathedral in St. Louis, televised locally by KTVI and KPLR as well as Fox Sports Midwest on pay-television. New York's Cardinal Timothy Dolan, who in his first episcopal post served as an auxiliary bishop of the Archdiocese of Saint Louis, was the principal celebrant, and Knoxville's Bishop Richard F. Stika, Musial's former parish priest, was the homilist. Bob Costas gave the principal eulogy, calling him "the genuine hero who as the years and decades passed, and disillusionment came from other directions, never once let us down", and quoting fellow Cooperstown honoree Mickey Mantle, who once said that Musial "was a better player than me because he was a better man than me". Legacy As a reflection of his popularity, Musial has had infrastructure named after him. In May 2011, the Pennsylvania State Senate changed the name of the bridge that carries the C. Vance Deicas Memorial Highway (S.R. 1077) over the Monongahela River from Donora-Monessen Bridge to Stan Musial Bridge after Musial who was a native of the area. In October 2013, the St. Louis Fire Department started operating a fireboat named after Musial. In July 2013, the new Interstate 70 bridge over the Mississippi River between Illinois and Missouri at St. Louis received the official name of Stan Musial Veterans Memorial Bridge. In 2013, the Bob Feller Act of Valor Award honored Musial as one of 37 Baseball Hall of Fame members for his service in the United States Navy during World War II. See also 3,000 hit club DHL Hometown Heroes List of Major League Baseball annual doubles leaders List of Major League Baseball annual triples leaders List of Major League Baseball annual runs scored leaders List of Major League Baseball career at-bat leaders List of Major League Baseball career bases on balls leaders List of Major League Baseball career doubles leaders List of Major League Baseball career extra base hits leaders List of Major League Baseball career games played leaders List of Major League Baseball career on-base percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career plate appearance leaders List of Major League Baseball career runs batted in leaders List of Major League Baseball career runs scored leaders List of Major League Baseball career singles leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career triples leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball players who spent their entire career with one franchise List of Major League Baseball runs records List of Major League Baseball single-season triples leaders List of Major League Baseball triples records List of members of the Baseball Hall of Fame List of Presidential Medal of Freedom recipients List of St. Louis Cardinals in the Baseball Hall of Fame List of St. Louis Cardinals owners and executives List of St. Louis Cardinals team records Lou Gehrig Memorial Award Major League Baseball titles leaders Sporting News Player of the Year Award Sports Illustrated Sportsperson of the Year St. Louis Cardinals all-time roster St. Louis Cardinals award winners and league leaders Notes References Bibliography External links Stan Musial at SABR (Baseball BioProject) Missing Man – Baseball Hall of Fame The National Baseball Hall of Fame Remembers Stan Musial Stan Musial: The Man – slideshow by Life magazine The Sporting News – interview with Stan Musial and Tony Gwynn, July 1997 1920 births 2013 deaths United States Navy personnel of World War II American people of Rusyn descent American people of Polish descent American sportsmen Baseball players from Pennsylvania Baseball players from St. Louis Daytona Beach Islanders players Neurological disease deaths in Missouri Deaths from Alzheimer's disease Major League Baseball first basemen Major League Baseball left fielders Major League Baseball players with retired numbers National Baseball Hall of Fame inductees National League All-Stars National League batting champions National League Most Valuable Player Award winners National League RBI champions People from Donora, Pennsylvania Presidential Medal of Freedom recipients Rochester Red Wings players St. Louis Cardinals executives St. Louis Cardinals players Sportspeople from St. Louis County, Missouri Springfield Cardinals players United States Navy sailors Williamson Colts players Williamson Red Birds players	true	[ "Mathias Haarup (born 10 February 1996) is a Danish footballer who plays as a right-back or left-back for Hobro IK in the Danish 1st Division.\n\nClub career\n\nEarly career\nAt the age of four, Haarup started playing for local club Havndal Udbyneder IF, where he was coached by his own father, who began working for the club. He later signed for Hobro IK at the age of 12, where he had many friends from the talent-team. At this time, Haarup was playing as a forward. His last youth destination was Randers FC, which he joined at the age of 14. At this time, he was already involved with the first team.\n\nRanders Freja\nIn 2015, Haarup was promoted to the Denmark Series team of Randers FC, because he became too old for playing for the U19 team and was not deemed good enough for the first team squad. Though, he was also training and playing for the reserve team of Randers. In 2016, he became the captain of the Denmark Series team.\n\nIn December 2016, Haarup went on a trial at Skive IK, without getting offered any contract at the end.\n\nBrabrand IF\nOn 24 December 2016, Haarup signed for Danish 2nd Division club, Brabrand IF. He played 12 games for the club, before leaving in the summer 2017. This was announced by Brabrand IF in June 2016. He was playing as a winger during his time in Brabrand.\n\nHobro IK\nAfter playing in the Denmark Series and a half year in the Danish 2nd Division, he finally reached the top league, after re-signing for newly-promoted Danish Superliga club Hobro IK on 21 June 2017.\n\nHaarup got his debut for Hobro IK on 14 August 2017. He started on the bench, but replaced Danny Olsen in the 89th minute in a 1-1 draw against AaB in the Danish Superliga.\n\nReferences\n\nExternal links\n \n Mathias Haarup at Hobro IK\n\n1996 births\nLiving people\nDanish footballers\nAssociation football defenders\nDanish Superliga players\nDanish 2nd Division players\nHobro IK players\nBrabrand IF players\nPeople from Aarhus\nRanders FC players", "Baron Hans Heinrich \"Dickie\" von Trauttenberg (January 6, 1909 - October 25, 1985) was a German-born Austrian ice hockey player who competed for the Austrian national team at the 1936 Winter Olympics in Garmisch-Partenkirchen.\n\nPlaying career\nTrauttenberg studied at Cambridge University and played for their hockey team during the 1930s, captaining the team in 1931.\n\nOne of the top defensemen in Austria at the time, he made 25 appearances for the national team at the World Championships between 1930 and 1935.\n\nIn what would be his final international tournament, Trauttenberg captained the Austrian national team at the 1936 Winter Olympics. He was residing in London at the time and played his club hockey with Streatham of the English National League.\n\nReferences\n\n1909 births\n1985 deaths\nAustrian ice hockey defencemen\nIce hockey players at the 1936 Winter Olympics\nOlympic ice hockey players of Austria" ]
[ "Stan Musial", "1950-54", "What happened to Stan Musial during 1955-54?", "Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game,", "What team was he playing for at this time?", "Cardinals" ]	C_60743ec98be8478ca8c3b2032372f832_0	Did he win in the all star game?	3	Did Stan Musial win in the all star game?	Stan Musial	Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season--a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. CANNOTANSWER	in fan balloting he was the NL's number two choice.	Stanley Frank Musial (; born Stanislaw Franciszek Musial; November 21, 1920 – January 19, 2013), nicknamed "Stan the Man", was an American baseball outfielder and first baseman. He spent 22 seasons in Major League Baseball (MLB), playing for the St. Louis Cardinals, from 1941 to 1944 and from 1946 to 1963. Widely considered to be one of the greatest and most consistent hitters in baseball history, Musial was a first-ballot inductee into the Baseball Hall of Fame in 1969. He batted .331 over the course of his career and set National League (NL) records for career hits (3,630), runs batted in (1,951), games played (3,026), at bats (10,972), runs scored (1,949) and doubles (725). His 475 career home runs then ranked second in NL history behind Mel Ott's total of 511. A seven-time batting champion, he was named the National League's (NL) Most Valuable Player (MVP) three times and was a member of three World Series championship teams. He also shares the major league record for the most All-Star Games played (24) with Hank Aaron and Willie Mays. Musial was born in Donora, Pennsylvania, where he frequently played baseball informally or in organized settings, and eventually played on the baseball team at Donora High School. Signed to a professional contract by the St. Louis Cardinals as a pitcher in 1938, Musial was converted into an outfielder and made his major league debut in 1941. Noted for his unique batting stance, he quickly established himself as a consistent and productive hitter. In his first full season, 1942, the Cardinals won the World Series. The following year, he led the NL in six different offensive categories and earned his first MVP award. He was also named to the NL All-Star squad for the first time; he appeared in every All-Star game in every subsequent season he played. Musial won his second World Series championship in 1944, then missed the entire 1945 season while serving in the Navy. After completing his military service during the war, Musial returned to baseball in 1946 and resumed his consistent hitting. That year he earned his second MVP award and third World Series title. His third MVP award came in 1948, when he finished one home run short of winning baseball's Triple Crown. After struggling offensively in 1959, Musial used a personal trainer to help maintain his productivity until he decided to retire in 1963. At the time of his retirement, he held or shared 17 major league records, 29 National League records, and nine All-Star Game records. In addition to overseeing personal businesses, including a restaurant, both before and after his playing career, Musial served as the Cardinals' general manager in 1967, winning the pennant and World Series, then resigning that position. Musial was selected for the Major League Baseball All-Century Team in 1999. In February 2011, President Barack Obama presented Musial with the Presidential Medal of Freedom, the highest civilian award that can be bestowed on a person by the United States government. Early life Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz Musial (originally Musiał; ) and Mary Lancos. His mother was of Carpatho-Rusyn descent, and his father was a Polish immigrant who always referred to his son by the Polish nickname Stasiu, pronounced "Stashu". Young Stan frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also learned about baseball from his neighbor Joe Barbao, a former minor league pitcher. When he enrolled in school, his name was formally changed to Stanley Frank Musial. At age 15, Musial joined the Donora Zincs, a semi-professional team managed by Barbao. In his Zincs debut, he pitched six innings and struck out 13 batters, all of them adults. He played one season on the newly revived Donora High School baseball team, where one of his teammates was Buddy Griffey, father of MLB player Ken Griffey Sr. and grandfather to Ken Griffey Jr. Baseball statistician Bill James described the younger Griffey, in comparison to Musial, as "the second-best left-handed hitting, left-handed throwing outfielder ever born in Donora, Pennsylvania, on November 21." His exploits as a rising player in Pennsylvania earned him the nickname "The Donora Greyhound". Musial also played basketball and was offered an athletic scholarship in that sport by the University of Pittsburgh. Meanwhile, the St. Louis Cardinals had scouted Musial as a pitcher and, in 1937, offered him a professional contract after a workout with their Class D Penn State League affiliate. Musial's father initially resisted the idea of his son pursuing a baseball career, but he reluctantly gave consent after lobbying by his son and his wife. Musial also credited his school librarian Helen Kloz for pointing out that baseball was his dream and advising him to pursue it professionally. In what was then a common practice, the Cardinals did not file the contract with the baseball commissioner's office until June 1938. This preserved Musial's amateur eligibility, and he was still able to participate in high school sports, leading Donora High School's basketball team to a playoff appearance. He then reported to the Cardinals' Class D affiliate in West Virginia, the Williamson Red Birds. Professional baseball career Minor leagues (1938–1941) Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6–6 win–loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary (). Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9–2 record, a 4.30 ERA, and a .352 batting average. Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12–5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt, Musial bought Kerr a $20,000 () home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18–5 pitching record that included 176 strikeouts and 145 walks. Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester—in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season. Major leagues (1941–1944) Musial made his major league debut during the second game of a doubleheader at Sportsman's Park on September 17, 1941. The Cardinals were in the midst of a pennant race with the Brooklyn Dodgers; in 12 games, Musial collected 20 hits for a .426 batting average. Despite Musial's late contributions, the Cardinals finished two and one-half games behind the 100-game-winning Dodgers. Cardinals manager Billy Southworth used Musial as a left fielder to begin 1942, sometimes lifting him for a pinch-hitter against left-handed pitching. Musial was hitting .315 by late June, as the Cardinals resumed battling the Dodgers for first place in the National League (NL). The Cardinals took sole possession of first place on September 13, and when Musial caught a fly ball to end the first game of a doubleheader on September 27 they clinched the pennant with their 105th win. He finished the season with a .315 batting average and 72 runs batted in (RBI) in 140 games. Musial received national publicity when he was named by St. Louis Post-Dispatch sports editor J. Roy Stockton as his choice for Rookie of the Year in a Saturday Evening Post article. The Cardinals played the American League champion New York Yankees in the 1942 World Series. Representing the winning run at home plate in the bottom of the ninth inning of Game 1 at Sportsman's Park, Musial grounded out with the bases loaded to end the game . Musial's first hit of the Series was an RBI single that provided the margin of victory in Game 2, allowing the Cardinals to tie the Series. Over the next three games at Yankee Stadium, Musial had three more hits as the Cardinals defeated the Yankees in the Series four games to one. Musial batted .222 for the Series, with two runs scored. Musial's 1943 season started with a brief contract holdout in spring training. He made the National League All-Star team for the first time as a starting left fielder and got a double in the All-Star Game on July 13. He finished the season leading the major leagues in hitting with a .357 batting average and led the NL in hits (220), doubles (48), triples (20), total bases (347), on-base percentage (.425), and slugging percentage (.562). This performance earned him his first NL Most Valuable Player Award, ahead of teammate and catcher Walker Cooper (.318 batting average). After romping to another NL pennant by 18 games, the Cardinals again faced the Yankees in the 1943 World Series. Musial had a single in the Cardinals' Game 1 loss, and scored a run in a Game 2 win. The Cardinals did not win another game in the Series, but the loser's bonus share paid to each Cardinals player ($4,321.99, ) still amounted to nearly two-thirds of Musial's regular season salary. United States involvement in World War II began to impinge on Musial's baseball career in 1944, as he underwent a physical examination in prelude to possible service in the armed forces. He ultimately remained with the Cardinals for the entire season, posting a .347 batting average with 197 hits. The Cardinals claimed the NL pennant for the third consecutive season, and faced St. Louis's other major league team, the Browns, in the 1944 World Series. The Browns took a 2–1 lead, while Musial hit .250 with no RBI. He broke out in Game 4 with a two-run home run, single, double, and a walk as part of a 5–1 Cardinals win. The Cardinals went on to defeat the Browns in six games, and Musial posted a .304 batting average for the Series. Sojourn in the U.S. Navy (1945–46) Musial enlisted in the United States Navy on January 23, 1945, during World War II. He was initially assigned to non-combat duty at the United States Naval Training Center Bainbridge. In June 1945, he was assigned to Special Services in Hawaii, and was assigned to a ferry launch unit to bring back damaged ship crews entering Pearl Harbor where he was able to play baseball every afternoon in the naval base's eight-team league. After being granted emergency leave to see his ailing father in January 1946, he was briefly assigned to the Philadelphia Navy Yard before his honorable discharge from the Navy as a Seaman Second Class in March 1946. In 2007, Musial received the Navy Memorial's Lone Sailor Award, which honors Navy veterans who have excelled in civilian life. Major leagues (1946–1963) 1946–1949 Rejoining the Cardinals under new manager Eddie Dyer, Musial posted a .388 batting average by the middle of May 1946. He also became close friends with new teammate Red Schoendienst, who had joined the Cardinals during Musial's absence in 1945. During the season, Musial (who was under contract to the Cardinals for $13,500 in 1946) was offered a five-year, $125,000 contract, plus a $50,000 bonus, to join the Mexican League. He declined the offer, and after manager Dyer spoke to club owner Sam Breadon, Musial was given a $5,000 raise later in 1946. It was also during the 1946 season that Musial acquired his nickname of Stan the Man. During the June 23 game against the Dodgers at Ebbets Field, St. Louis Post-Dispatch sportswriter Bob Broeg heard Dodger fans chanting whenever Musial came to bat, but could not understand the words. Later that day over dinner, Broeg asked Cardinals traveling secretary Leo Ward if he had understood what the Dodger fans had been chanting. Ward said, "Every time Stan came up they chanted, 'Here comes the man!'" "'That man,' you mean", Broeg said. "No, the man", replied Ward. Broeg mentioned this story in his Post-Dispatch column, and Musial was thereafter known as Stan "The Man". In June 1946, Dyer began to use Musial as a first baseman. The Cardinals finished the season tied with the Dodgers, prompting a three-game playoff for the pennant. Musial's Game 1 triple and Game 2 double contributed to the Cardinals' two-games-to-none series victory. Facing the Boston Red Sox, the Cardinals won the 1946 World Series four games to three, as Musial had six hits and four RBI. He batted .365 for the season and won his second NL MVP Award, receiving 22 out of a possible 24 first-place votes, finishing ahead of Brooklyn's Dixie Walker (.319 batting average). Musial began the 1947 season by hitting .146 in April. On May 9, team doctor Dr. Robert Hyland confirmed a previous diagnosis of appendicitis, while discovering that Musial was concurrently suffering from tonsillitis. He received treatment, but did not have either his appendix or tonsils surgically removed until after the season ended. Despite his health woes, he finished the year with a batting average of .312. Fully recovered from his ailments, Musial recorded his 1,000th career hit on April 25, 1948. After a May 7 St. Louis Globe-Democrat article criticized baseball players for appearing in cigarette advertisements, he made a personal decision to never again appear in such ads. By June 24, his batting average was .408, prompting Brooklyn pitcher Preacher Roe to comically announce his new method for retiring Musial: "Walk him on four pitches and pick him off first." Given a mid-season pay raise by new Cardinals owner Robert E. Hannegan for his outstanding performance, Musial hit a home run in the All-Star Game. On September 22, he registered five hits in a game for the fourth time in the season, tying a mark set by Ty Cobb in 1922. Musial finished the 1948 season leading the major leagues in batting average (.376), hits (230), doubles (46), triples (18), total bases (429), and slugging percentage (.702). Winning the NL batting title by a 43-point margin, with an on-base percentage lead of 27 points and a 138-point slugging percentage margin—the latter being the largest gap since Rogers Hornsby's 1925 season—Musial became the first player to win three NL MVP awards. If a home run he hit during a rained out game had been counted in his season totals, he would have won the Triple Crown by leading the NL in batting average, home runs, and runs batted in. Anticipating life after his baseball career, Musial began the first of several business partnerships with Julius "Biggie" Garagnani in January 1949, opening "Stan Musial & Biggie's" restaurant. He approached the 1949 season with the intent to try to hit more home runs, stating he had hit 39 the previous season "without trying". His new focus on hitting for power backfired, as pitchers began using the outside part of the plate to induce him to ground out to the first or second baseman. Musial soon stopped focusing on hitting home runs and resumed his consistent offensive production by the end of May. He received his sixth consecutive All-Star player selection and finished the season leading the NL in hits (207) while playing in every game. However, the Cardinals, with 96 wins, finished one game behind the Dodgers. In the late 1940s, when baseball was slowly becoming integrated, Musial—along with his roommate Red Schoendienst—would be lauded by newcomers such as Dodgers' pitcher Don Newcombe for their tolerance. "They never...had the need to sit in the dugout and call a black guy a bunch of names", Newcombe said, "because he was trying to change the game and make it what it should have been in the first place, a game for all people." 1950–1954 Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season—a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial led the National League with a .355 batting average, 355 total bases, 124 runs and 12 triples. He finished second in NL MVP voting for the third year in a row and was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. Oddly enough, as a young child, Colbert was in attendance as Musial set his record. 1955–1959 Musial made his 12th NL All-Star appearance in 1955 as a reserve player, when Cincinnati's Ted Kluszewski outpolled him by 150,000 votes to get on the starting lineup at first base. Musial entered the game as a pinch hitter in the fourth inning, and played left field as the game entered extra innings. Leading off the bottom of the 12th, he hit a home run to give the NL a 6–5 victory. The 1956 season marked another milestone for Musial, when he broke Mel Ott's NL record for extra-base hits on August 12. Earlier that season, Cardinals general manager "Trader Frank" Lane began negotiations to trade him for Philadelphia pitcher Robin Roberts. When Cardinals owner Gussie Busch learned of the possible move, he made it clear that Musial was not available for any trade. Instead, Lane dealt Musial's close friend Schoendienst to the New York Giants; an upset Musial made no immediate comment to the press. On June 11, 1957, Musial tied the NL record for consecutive games played with his 822nd, a streak that began on the last day of the 1951 season. Despite ballot stuffing by Cincinnati Reds fans, he was selected and played in the All-Star Game held at Sportsman's Park. When he overextended his swing while batting during a game on August 23, Musial fractured a bone in his left shoulder socket and tore muscles over his collarbone. He was unable to play again until September 8, ending his consecutive games-played streak at 895. He finished 1957 as Sports Illustrateds "Sportsman of the Year". Musial signed one of the first $100,000 contracts in NL history on January 29, 1958. (According to Baseball Almanac, Hank Greenberg was the first with Pittsburgh in 1947.) He quickly demonstrated a return on the investment by sharing with Willie Mays the inaugural (and for the only time in Musial's career) NL Player of the Month in May (no such award was given in April until 1969) batting .374, with 4 HR, and 16 RBI. Also that month, as he was approaching the 3,000-hit milestone in his major league career, he expressed a desire to record the hit in St. Louis. He ultimately reached the mark with a pinch-hit, sixth inning RBI double at Chicago's Wrigley Field on May 13. The eighth major league player to reach 3,000 hits, and the first to reach the milestone with an extra-base hit, Musial was greeted at St. Louis Union Station that evening by roughly 1,000 fans. Finishing the season in sixth place, the Cardinals embarked on an exhibition tour of Japan, winning 14 of 16 games against top players from the Central and Pacific Japanese Leagues. Taking a new approach to preparation for the 1959 season, Musial was given permission to report late to spring training so that he might conserve his energy for the duration of the year. Musial, at tall, had maintained a weight of around throughout his career. He reported to spring training approximately overweight and in substandard physical condition. He began the season with one hit in 15 at-bats. Despite his early offensive struggles, he single-handedly spoiled potential no-hitters on April 16 and 19. A game-winning home run on May 7 made him the first major league player ever with 400 home runs and 3,000 hits. As he continued to hit at a relatively low pace, his playing time was limited by Cardinals manager Solly Hemus at various points during the season. Seeking more revenue for the players' pension fund, Major League Baseball held two All-Star games in a season for the first time through 1962. Musial made his 16th All-Star appearance (16th season) and pinch-hit in both contests, flying out in the July 7 game and drawing a walk in the August 3 game. He finished the season with 115 regular game appearances, a .255 batting average, 37 runs, and a slugging percentage of .428. During the 1959 season, John F. Kennedy approached Musial about supporting Kennedy's campaign for President, citing their close ages. Musial campaigned for Kennedy later that year and became a supporter of the Democratic Party. On June 30, 1959, Musial was the batter in one of the oddest plays in baseball history. In a game between the Cardinals and Chicago Cubs, he was at the plate with a count of 3–1. Bob Anderson's next pitch was errant, evading catcher Sammy Taylor and rolling all the way to the backstop. Umpire Vic Delmore called ball four, even as Anderson and Taylor contended that Musial had foul tipped the ball. Because the ball was still in play and Delmore was embroiled in an argument with the catcher and pitcher, Musial kept running in attempt to make second base. Seeing that Musial was trying for second, Alvin Dark ran to the backstop to retrieve the ball. The ball wound up in the hands of field announcer Pat Pieper, but Dark ended up getting it back anyway. Absentmindedly, however, Delmore pulled out a new ball and gave it to Taylor. Anderson finally noticed that Musial was trying for second, took the new ball, and threw it to second baseman Tony Taylor. Anderson's throw flew over Taylor's head into the outfield. Dark, at the same time that Anderson threw the new ball, threw the original ball to shortstop Ernie Banks. Musial did not see Dark's throw and only noticed Anderson's ball fly over the second baseman's head, so he tried to go to third base. On his way there, he was tagged by Banks, and after a delay he was ruled out. 1960–1963 Based on his 1959 performance, Musial accepted a pay cut in 1960 from his previous $100,000 salary to $80,000. He was eager to prove that his mediocre performance was the result of improper physical conditioning, and he enlisted the help of Walter Eberhardt, Saint Louis University's director of physical education. In June 1960, newspaper articles began speculating that Musial would soon retire, yet he finished the season with a .275 batting average. He addressed the speculation in September, confirming that he would play again in 1961. His .288 batting average that season reaffirmed his decision. In 1962, Musial posted a .330 batting average, good for third in the batting race, with 19 homers and 82 RBI. As a pinch-hitter, he had 14 base hits in 19 at-bats (.737). Along the way, he established new NL career marks for hits and RBI. That same year on July 8, the 41-year-old Musial became the oldest player ever to hit three home runs in one game. The Cardinals began 1963 by winning 10 of their first 15 games, as Musial posted a .237 batting average. He set a new major league record for career extra-base hits on May 8 and improved his batting average to .277 by the end of the month. Making his 20th All-Star appearance and 24th All-Star Game appearance on July 9, 1963, he pinch-hit in the fifth inning. Asked by general manager Bing Devine on July 26 what his plans were, Musial said that he would retire at season's end. He waited until the Cardinals team picnic on August 12 to publicly announce his decision, hopeful he could retire on a winning note. Musial became a grandfather for the first time in the early hours of September 10; later that day, he hit a home run in his first at-bat. After sweeping a doubleheader on September 15, the Cardinals had won 19 of their last 20 games, and were one game behind the Los Angeles Dodgers. The Dodgers then swept the Cardinals in a three-game series in St. Louis and clinched the NL pennant on September 25. Musial's last game, on September 29, 1963, was preceded by an hour-long retirement ceremony. Speakers at the event included baseball commissioner Ford Frick, Cardinals broadcaster Harry Caray, and Cardinals owner Gussie Busch, who announced that Musial's uniform number "6" would be retired by the team. During the game, Musial recorded a single in the fourth inning, then hit a single to right field that scored teammate Curt Flood in the sixth. Cardinals manager Johnny Keane brought in Gary Kolb as a pinch-runner for Musial, bringing his major league career to an end. Just as he had recorded two base hits in his major league debut, Musial finished his last game with two hits, as well. Musial finished with the all-time National League hits record and second to only Ty Cobb on the all-time Major League list. Musial's last career hit was out of reach of Cincinnati Reds second baseman Pete Rose, who would go on to break Cobb's record to become baseball's all-time hit king. At the time of his retirement, Musial held or shared 17 major league records, 29 NL records, and nine All-Star Game records. Among those records, he ranked as the major league career leader in extra-base hits (1,377) and total bases (6,134). He also held NL career marks in categories such as hits (3,630), games played (3,026), doubles (725), and RBI (1,951). He finished his career with 475 home runs despite never having led the NL in the category. Jerry Lansche speculates Musial would likely have become the second player, after Babe Ruth, with 2,000 RBI, and would have exceeded 500 career home runs had he not served in the military. His lowest full season RBI output before the war was 72 (in 1942) and as he needed only 49 RBI to reach 2,000 for his full career, he certainly would have exceeded 2,000 RBI by playing without injury in 1945. His home run production is a different story and it is highly unlikely he would have reached 500. He did not hit more than 13 home runs in any season before he entered the navy and did not hit as many as 25 (the number he would have needed to become a 500 career homer club member) until 1948, 3 years after returning to baseball from World War II. His career hit total was evenly split between 1,815 hits at home and 1,815 hits on the road. Steven R. Bullock speculates that it is possible that without military service Musial might have continued playing to attempt to exceed Ty Cobb's career hit record of 4,191. He was the first major league player to appear in more than 1,000 games at two different positions, registering 1,896 games in the outfield and 1,016 at first base. Since Musial's retirement in 1963, Tony Gwynn has been the only player to finish his career with a higher lifetime batting average. Hank Aaron has been the only player to surpass his record of 6,134 total bases. In Musial's 3,026 major league appearances, he was never ejected from a game. Speaking about his quiet reputation within the sport's history, sportscaster Bob Costas said, "He didn't hit a homer in his last at-bat; he hit a single. He didn't hit in 56 straight games. He married his high school sweetheart and stayed married to her. ... All Musial represents is more than two decades of sustained excellence and complete decency as a human being." Post-playing career and family life Musial was named a vice president of the St. Louis Cardinals in September 1963, and he remained in that position until after the 1966 season. From February 1964 to January 1967, he also served as President Lyndon B. Johnson's physical fitness adviser, a part-time position created to promote better fitness among American citizens. Before the 1967 season began, the Cardinals named Musial the team's general manager, and he oversaw the club's World Series championship that year. He won the allegiance of Cardinals players by making fair offers from the outset of player-contract negotiations and creating an in-stadium babysitting service so players' wives could attend games. His longtime business partner, Biggie Garagnani, died in June 1967, prompting Musial to devote more time to managing his restaurant and other business interests. He came to realize that the detail-oriented desk job was not his forte. He consequently decided to step down as general manager, before even completing a full year on the job. Musial—like Phil Linz—was noted for his harmonica playing, which included his rendition of "Take Me Out to the Ball Game". Throughout the 1990s, he frequently played the harmonica at public gatherings, such as the annual Baseball Hall of Fame induction ceremony and various charity events. He appeared on the television show Hee Haw in 1985, and in 1994 recorded 18 songs that were sold in tandem with a harmonica-playing instruction booklet. Even though Musial left Donora after high school, he retained close ties to the town throughout the rest of his life. He maintained membership in local social clubs, and regularly sent a local doctor boxes of autographed baseballs, with the town's mayor using some for United Way fundraising. Musial also gave free meals at the restaurant he owned in St. Louis to any customers who presented valid ID proving they were Donora residents. Musial met Lillian Susan Labash, the daughter of a local grocer, in Donora when both were 15, and married her in St. Paul's Catholic Church in Daytona Beach, Florida on May 25, 1940. They had four children: son Richard, and daughters Gerry, Janet, and Jeanie. Lillian Musial died at 91, on May 3, 2012; their marriage had lasted for almost 72 years. During his playing years, Musial believed in racial equality and supported Jackie Robinson's right to play. After learning about the harmful effect of smoking in the 1950s, he refused to endorse tobacco products. Honors and recognition On August 4, 1968, a statue of Musial was erected outside of Busch Memorial Stadium on the northeast grounds of the St. Louis stadium. The statue was moved from its original location to the west side of the new Busch Stadium for its first season in 2006, where it became a popular meeting place for generations of Cardinals fans. Musial's statue is inscribed with a quote attributed to former baseball commissioner Ford Frick: "Here stands baseball's perfect warrior. Here stands baseball's perfect knight." In 1968, Musial received the Golden Plate Award of the American Academy of Achievement. Musial was elected to the Baseball Hall of Fame in his first year of eligibility in , when he was named on 93.2% of the ballots. On June 14, 1973, he was the first inductee into the National Polish-American Hall of Fame, housed at St. Mary's College in Orchard Lake, Michigan. In 1989, he was inducted into the St. Louis Walk of Fame. Five years later, a baseball field was named after him in his hometown of Donora. He was ranked tenth on The Sporting News list of the 100 Greatest Baseball Players published in 1998. He was also one of the 30 players selected to the Major League Baseball All-Century Team, added by a special committee after he finished 11th in fan voting among outfielders. In 2000, he was inducted into the Hall of Famous Missourians, and a bronze bust depicting him is on permanent display in the rotunda of the Missouri State Capitol. In January 2014, the Cardinals announced Musial among 22 former players and personnel to be inducted into the St. Louis Cardinals Hall of Fame Museum for the inaugural class of 2014. Nearly two decades after Musial retired, baseball statistician Bill James and the sabermetrics movement began providing new ways of comparing players across baseball history. In 2001, James ranked Musial the tenth-greatest baseball player in history, and the second-best left fielder of all time. According to Baseball-Reference.com, he ranks fifth all-time among hitters on the Black Ink Test, and third all-time on the Gray Ink Test—measures designed to compare players of different eras. He ranks first on Baseball-Reference's Hall of Fame Monitor Test, and is tied for second in the Hall of Fame Career Standards Test. Despite his statistical accomplishments, he is sometimes referred to as the most underrated or overlooked athlete in modern American sports history. For instance, in his analysis of baseball's under- and overrated players in 2007, sportswriter Jayson Stark said, "I can't think of any all-time great in any sport who gets left out of more who's-the-greatest conversations than Stan Musial." Musial threw out the first pitch in the fifth game of the 2006 World Series and delivered the ceremonial first pitch ball to President Barack Obama at the 2009 Major League Baseball All-Star Game. A "Stan the Man" day was held in his honor by the Cardinals on May 18, 2008. In 2010, another one of the Cardinals' greatest sluggers, Albert Pujols, whose nickname was "El Hombre", said he didn't want to be called "The Man", even in Spanish, because "There is one man that gets that respect, and that is Stan Musial." Also in 2010, the Cardinals launched a campaign to build support for awarding Musial the Presidential Medal of Freedom for his lifetime of achievement and service. The campaign realized its goal, and on February 15, 2011, Musial was awarded the Presidential Medal of Freedom by President Barack Obama who called him "an icon untarnished, a beloved pillar of the community, a gentleman you'd want your kids to emulate." On October 18, 2012, Musial made his final appearance at Busch Stadium, riding in a golf cart around the field before Game 4 of the National League Championship Series. Musial stopped at both dugouts and greeted San Francisco Giants manager Bruce Bochy and Cardinals manager Mike Matheny. The Cardinals would go on to win Game 4 by a score of 8–3, but lost the pennant to the Giants. MLB statistics Hitting Fielding Value Death On January 19, 2013, Musial died at age 92 of natural causes at his home in Ladue, Missouri, on the same day as fellow MLB Hall of Fame inductee Earl Weaver. Musial was surrounded by his family as he died peacefully. Cardinals owner Bill DeWitt, Jr. released the following statement: Upon hearing the news of his death, fans gathered and began an impromptu memorial at his statue outside Busch Stadium; the Cardinals issued a release saying the memorial would be left in place for some time. In a laudatory obituary, The New York Times quoted famed New York manager Leo Durocher: "There is only one way to pitch to Musial—under the plate." Missouri Governor Jay Nixon commented: "Stan Musial was a great American hero who—with the utmost humility—inspired us all to aim high and dream big. The world is emptier today without him, but far better to have known him. The legacy of 'baseball's perfect warrior' will endure and inspire generations to come." St. Louis Mayor Francis Slay tweeted: "Sad as we are, we are fortunate to have had Stan in STL for so long, and are also glad that Stan and Lil are together again." He ordered flags at half-staff in the city. "Major League Baseball has lost one of its true legends in Stan Musial, a Hall of Famer in every sense and a man who led a great American life", Commissioner Bud Selig said. "He was the heart and soul of the historic St. Louis Cardinals franchise for generations, and he served his country during World War II. A recipient of the Presidential Medal of Freedom in 2011, Stan's life embodies baseball's unparalleled history and why this game is the national pastime." Thousands of fans braved cold temperatures on January 24 for a public visitation at the Cathedral Basilica of Saint Louis, where Musial lay in state, dressed in his trademark cardinal-red blazer and with a harmonica in his lapel pocket, flanked by a Navy honor guard. A private funeral Mass was held on Saturday, January 26, 2013, at the New Cathedral in St. Louis, televised locally by KTVI and KPLR as well as Fox Sports Midwest on pay-television. New York's Cardinal Timothy Dolan, who in his first episcopal post served as an auxiliary bishop of the Archdiocese of Saint Louis, was the principal celebrant, and Knoxville's Bishop Richard F. Stika, Musial's former parish priest, was the homilist. Bob Costas gave the principal eulogy, calling him "the genuine hero who as the years and decades passed, and disillusionment came from other directions, never once let us down", and quoting fellow Cooperstown honoree Mickey Mantle, who once said that Musial "was a better player than me because he was a better man than me". Legacy As a reflection of his popularity, Musial has had infrastructure named after him. In May 2011, the Pennsylvania State Senate changed the name of the bridge that carries the C. Vance Deicas Memorial Highway (S.R. 1077) over the Monongahela River from Donora-Monessen Bridge to Stan Musial Bridge after Musial who was a native of the area. In October 2013, the St. Louis Fire Department started operating a fireboat named after Musial. In July 2013, the new Interstate 70 bridge over the Mississippi River between Illinois and Missouri at St. Louis received the official name of Stan Musial Veterans Memorial Bridge. In 2013, the Bob Feller Act of Valor Award honored Musial as one of 37 Baseball Hall of Fame members for his service in the United States Navy during World War II. See also 3,000 hit club DHL Hometown Heroes List of Major League Baseball annual doubles leaders List of Major League Baseball annual triples leaders List of Major League Baseball annual runs scored leaders List of Major League Baseball career at-bat leaders List of Major League Baseball career bases on balls leaders List of Major League Baseball career doubles leaders List of Major League Baseball career extra base hits leaders List of Major League Baseball career games played leaders List of Major League Baseball career on-base percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career plate appearance leaders List of Major League Baseball career runs batted in leaders List of Major League Baseball career runs scored leaders List of Major League Baseball career singles leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career triples leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball players who spent their entire career with one franchise List of Major League Baseball runs records List of Major League Baseball single-season triples leaders List of Major League Baseball triples records List of members of the Baseball Hall of Fame List of Presidential Medal of Freedom recipients List of St. Louis Cardinals in the Baseball Hall of Fame List of St. Louis Cardinals owners and executives List of St. Louis Cardinals team records Lou Gehrig Memorial Award Major League Baseball titles leaders Sporting News Player of the Year Award Sports Illustrated Sportsperson of the Year St. Louis Cardinals all-time roster St. Louis Cardinals award winners and league leaders Notes References Bibliography External links Stan Musial at SABR (Baseball BioProject) Missing Man – Baseball Hall of Fame The National Baseball Hall of Fame Remembers Stan Musial Stan Musial: The Man – slideshow by Life magazine The Sporting News – interview with Stan Musial and Tony Gwynn, July 1997 1920 births 2013 deaths United States Navy personnel of World War II American people of Rusyn descent American people of Polish descent American sportsmen Baseball players from Pennsylvania Baseball players from St. Louis Daytona Beach Islanders players Neurological disease deaths in Missouri Deaths from Alzheimer's disease Major League Baseball first basemen Major League Baseball left fielders Major League Baseball players with retired numbers National Baseball Hall of Fame inductees National League All-Stars National League batting champions National League Most Valuable Player Award winners National League RBI champions People from Donora, Pennsylvania Presidential Medal of Freedom recipients Rochester Red Wings players St. Louis Cardinals executives St. Louis Cardinals players Sportspeople from St. Louis County, Missouri Springfield Cardinals players United States Navy sailors Williamson Colts players Williamson Red Birds players	true	[ "The 2006 Major League Soccer All-Star Game was the 11th Major League Soccer All-Star Game, played on August 5, 2006, at Toyota Park in Bridgeview, Illinois between the MLS All-Stars and Chelsea. The MLS All-Stars won the match 1–0, with Dwayne De Rosario scoring the winning goal in the 70th minute. The Coach of MLS All-Stars have chosen to start the game with players mostly from his team D.C. United and left stars like Freddy Adu on bench even though he was expected to put them in starting 11. On the interview in Polish YouTube channel “Kanal Sportowy” Peter Nowak admitted that he said to his superiors if they want to win the game they have to allow him to use his own players from D.C. United, which they did and won.\n\nMatch details\n\n\|valign=\"top\"\|\n\|valign=\"top\" width=\"50%\"\|\n\n\|}\n\nSeveral players originally named in the MLS All-Stars roster had to withdraw as they were due to play in the New England Revolution vs Chivas USA match on August 6; these included Ante Razov (Chivas), Shalrie Joseph and Clint Dempsey (both New England). Landon Donovan, Pablo Mastroeni and Eddie Pope also withdrew from the All-Star game through injury. Facundo Erpen, Ricardo Clark and Eddie Robinson were called up to replace them.\n\nExternal links\n2006 MLS All-Star Game Recap\n\nMajor League Soccer All-Star Game\nMLS All-Star 2006\nSoccer in Illinois\nAll-Star Game\nMLS All-Star Game\nAugust 2006 sports events in the United States\nSports competitions in Illinois", "The 1999 Major League Soccer All-Star Game was the 4th Major League Soccer All-Star Game, played on July 17, 1999, at Qualcomm Stadium in San Diego, California.\nThe MLS Western All-Stars defeated the MLS Eastern All-Stars, 6–4, in front of 23,227 fans at Qualcomm Stadium in San Diego.\n\nMatch\n\nSummary\n\nRoy Lassiter scored in the first minute of the match for the East, but their lead did not last long. Preki found an equalizer for the West in the 13th minute, and a go-ahead goal from Roman Kosecki gave them a 2–1 advantage in the 32nd minute. Cobi Jones netted one of his own in the 36th minute before another tally from Preki, who earned MVP honors, in the 38th minute gave the West a 4–1 halftime lead. A string of three unanswered second-half goals by the East brought things level once again.\n\nA penalty kick by New England Revolution forward Joe-Max Moore in the 62nd minute, and strikes from Carlos Valderrama (73’) and Stern John (83’) capped the comeback. It would be short-lived, however. Two late goals from Mauricio Wright (84’) and Ronald Cerritos (89’) secured the victory for the West.\nThe MLS Western All-Stars recorded their first win over the East in three All-Star game tries. Jeff Baicher was originally scheduled to appear for the West All-Star Team but injury prevented it from happening. He would be replaced by Paul Bravo.\n\nDetails\n\n\|valign=\"top\"\|\n\|valign=\"top\" style=\"width:50%\"\|\n\n\|}\n\nExternal links\n MLS All-Star Game 1999 match report\n\nMajor League Soccer All-Star Game\nAll-Star Game\n1999 in sports in California\nSports competitions in San Diego\n1990s in San Diego\nJuly 1999 sports events in the United States" ]
[ "Stan Musial", "1950-54", "What happened to Stan Musial during 1955-54?", "Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game,", "What team was he playing for at this time?", "Cardinals", "Did he win in the all star game?", "in fan balloting he was the NL's number two choice." ]	C_60743ec98be8478ca8c3b2032372f832_0	Did he win any awards during his time with the cardinals?	4	Did Stan Musial win any awards during his time with the cardinals?	Stan Musial	Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season--a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. CANNOTANSWER	while Musial was named The Sporting News Major League Player of the Year.	Stanley Frank Musial (; born Stanislaw Franciszek Musial; November 21, 1920 – January 19, 2013), nicknamed "Stan the Man", was an American baseball outfielder and first baseman. He spent 22 seasons in Major League Baseball (MLB), playing for the St. Louis Cardinals, from 1941 to 1944 and from 1946 to 1963. Widely considered to be one of the greatest and most consistent hitters in baseball history, Musial was a first-ballot inductee into the Baseball Hall of Fame in 1969. He batted .331 over the course of his career and set National League (NL) records for career hits (3,630), runs batted in (1,951), games played (3,026), at bats (10,972), runs scored (1,949) and doubles (725). His 475 career home runs then ranked second in NL history behind Mel Ott's total of 511. A seven-time batting champion, he was named the National League's (NL) Most Valuable Player (MVP) three times and was a member of three World Series championship teams. He also shares the major league record for the most All-Star Games played (24) with Hank Aaron and Willie Mays. Musial was born in Donora, Pennsylvania, where he frequently played baseball informally or in organized settings, and eventually played on the baseball team at Donora High School. Signed to a professional contract by the St. Louis Cardinals as a pitcher in 1938, Musial was converted into an outfielder and made his major league debut in 1941. Noted for his unique batting stance, he quickly established himself as a consistent and productive hitter. In his first full season, 1942, the Cardinals won the World Series. The following year, he led the NL in six different offensive categories and earned his first MVP award. He was also named to the NL All-Star squad for the first time; he appeared in every All-Star game in every subsequent season he played. Musial won his second World Series championship in 1944, then missed the entire 1945 season while serving in the Navy. After completing his military service during the war, Musial returned to baseball in 1946 and resumed his consistent hitting. That year he earned his second MVP award and third World Series title. His third MVP award came in 1948, when he finished one home run short of winning baseball's Triple Crown. After struggling offensively in 1959, Musial used a personal trainer to help maintain his productivity until he decided to retire in 1963. At the time of his retirement, he held or shared 17 major league records, 29 National League records, and nine All-Star Game records. In addition to overseeing personal businesses, including a restaurant, both before and after his playing career, Musial served as the Cardinals' general manager in 1967, winning the pennant and World Series, then resigning that position. Musial was selected for the Major League Baseball All-Century Team in 1999. In February 2011, President Barack Obama presented Musial with the Presidential Medal of Freedom, the highest civilian award that can be bestowed on a person by the United States government. Early life Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz Musial (originally Musiał; ) and Mary Lancos. His mother was of Carpatho-Rusyn descent, and his father was a Polish immigrant who always referred to his son by the Polish nickname Stasiu, pronounced "Stashu". Young Stan frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also learned about baseball from his neighbor Joe Barbao, a former minor league pitcher. When he enrolled in school, his name was formally changed to Stanley Frank Musial. At age 15, Musial joined the Donora Zincs, a semi-professional team managed by Barbao. In his Zincs debut, he pitched six innings and struck out 13 batters, all of them adults. He played one season on the newly revived Donora High School baseball team, where one of his teammates was Buddy Griffey, father of MLB player Ken Griffey Sr. and grandfather to Ken Griffey Jr. Baseball statistician Bill James described the younger Griffey, in comparison to Musial, as "the second-best left-handed hitting, left-handed throwing outfielder ever born in Donora, Pennsylvania, on November 21." His exploits as a rising player in Pennsylvania earned him the nickname "The Donora Greyhound". Musial also played basketball and was offered an athletic scholarship in that sport by the University of Pittsburgh. Meanwhile, the St. Louis Cardinals had scouted Musial as a pitcher and, in 1937, offered him a professional contract after a workout with their Class D Penn State League affiliate. Musial's father initially resisted the idea of his son pursuing a baseball career, but he reluctantly gave consent after lobbying by his son and his wife. Musial also credited his school librarian Helen Kloz for pointing out that baseball was his dream and advising him to pursue it professionally. In what was then a common practice, the Cardinals did not file the contract with the baseball commissioner's office until June 1938. This preserved Musial's amateur eligibility, and he was still able to participate in high school sports, leading Donora High School's basketball team to a playoff appearance. He then reported to the Cardinals' Class D affiliate in West Virginia, the Williamson Red Birds. Professional baseball career Minor leagues (1938–1941) Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6–6 win–loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary (). Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9–2 record, a 4.30 ERA, and a .352 batting average. Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12–5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt, Musial bought Kerr a $20,000 () home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18–5 pitching record that included 176 strikeouts and 145 walks. Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester—in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season. Major leagues (1941–1944) Musial made his major league debut during the second game of a doubleheader at Sportsman's Park on September 17, 1941. The Cardinals were in the midst of a pennant race with the Brooklyn Dodgers; in 12 games, Musial collected 20 hits for a .426 batting average. Despite Musial's late contributions, the Cardinals finished two and one-half games behind the 100-game-winning Dodgers. Cardinals manager Billy Southworth used Musial as a left fielder to begin 1942, sometimes lifting him for a pinch-hitter against left-handed pitching. Musial was hitting .315 by late June, as the Cardinals resumed battling the Dodgers for first place in the National League (NL). The Cardinals took sole possession of first place on September 13, and when Musial caught a fly ball to end the first game of a doubleheader on September 27 they clinched the pennant with their 105th win. He finished the season with a .315 batting average and 72 runs batted in (RBI) in 140 games. Musial received national publicity when he was named by St. Louis Post-Dispatch sports editor J. Roy Stockton as his choice for Rookie of the Year in a Saturday Evening Post article. The Cardinals played the American League champion New York Yankees in the 1942 World Series. Representing the winning run at home plate in the bottom of the ninth inning of Game 1 at Sportsman's Park, Musial grounded out with the bases loaded to end the game . Musial's first hit of the Series was an RBI single that provided the margin of victory in Game 2, allowing the Cardinals to tie the Series. Over the next three games at Yankee Stadium, Musial had three more hits as the Cardinals defeated the Yankees in the Series four games to one. Musial batted .222 for the Series, with two runs scored. Musial's 1943 season started with a brief contract holdout in spring training. He made the National League All-Star team for the first time as a starting left fielder and got a double in the All-Star Game on July 13. He finished the season leading the major leagues in hitting with a .357 batting average and led the NL in hits (220), doubles (48), triples (20), total bases (347), on-base percentage (.425), and slugging percentage (.562). This performance earned him his first NL Most Valuable Player Award, ahead of teammate and catcher Walker Cooper (.318 batting average). After romping to another NL pennant by 18 games, the Cardinals again faced the Yankees in the 1943 World Series. Musial had a single in the Cardinals' Game 1 loss, and scored a run in a Game 2 win. The Cardinals did not win another game in the Series, but the loser's bonus share paid to each Cardinals player ($4,321.99, ) still amounted to nearly two-thirds of Musial's regular season salary. United States involvement in World War II began to impinge on Musial's baseball career in 1944, as he underwent a physical examination in prelude to possible service in the armed forces. He ultimately remained with the Cardinals for the entire season, posting a .347 batting average with 197 hits. The Cardinals claimed the NL pennant for the third consecutive season, and faced St. Louis's other major league team, the Browns, in the 1944 World Series. The Browns took a 2–1 lead, while Musial hit .250 with no RBI. He broke out in Game 4 with a two-run home run, single, double, and a walk as part of a 5–1 Cardinals win. The Cardinals went on to defeat the Browns in six games, and Musial posted a .304 batting average for the Series. Sojourn in the U.S. Navy (1945–46) Musial enlisted in the United States Navy on January 23, 1945, during World War II. He was initially assigned to non-combat duty at the United States Naval Training Center Bainbridge. In June 1945, he was assigned to Special Services in Hawaii, and was assigned to a ferry launch unit to bring back damaged ship crews entering Pearl Harbor where he was able to play baseball every afternoon in the naval base's eight-team league. After being granted emergency leave to see his ailing father in January 1946, he was briefly assigned to the Philadelphia Navy Yard before his honorable discharge from the Navy as a Seaman Second Class in March 1946. In 2007, Musial received the Navy Memorial's Lone Sailor Award, which honors Navy veterans who have excelled in civilian life. Major leagues (1946–1963) 1946–1949 Rejoining the Cardinals under new manager Eddie Dyer, Musial posted a .388 batting average by the middle of May 1946. He also became close friends with new teammate Red Schoendienst, who had joined the Cardinals during Musial's absence in 1945. During the season, Musial (who was under contract to the Cardinals for $13,500 in 1946) was offered a five-year, $125,000 contract, plus a $50,000 bonus, to join the Mexican League. He declined the offer, and after manager Dyer spoke to club owner Sam Breadon, Musial was given a $5,000 raise later in 1946. It was also during the 1946 season that Musial acquired his nickname of Stan the Man. During the June 23 game against the Dodgers at Ebbets Field, St. Louis Post-Dispatch sportswriter Bob Broeg heard Dodger fans chanting whenever Musial came to bat, but could not understand the words. Later that day over dinner, Broeg asked Cardinals traveling secretary Leo Ward if he had understood what the Dodger fans had been chanting. Ward said, "Every time Stan came up they chanted, 'Here comes the man!'" "'That man,' you mean", Broeg said. "No, the man", replied Ward. Broeg mentioned this story in his Post-Dispatch column, and Musial was thereafter known as Stan "The Man". In June 1946, Dyer began to use Musial as a first baseman. The Cardinals finished the season tied with the Dodgers, prompting a three-game playoff for the pennant. Musial's Game 1 triple and Game 2 double contributed to the Cardinals' two-games-to-none series victory. Facing the Boston Red Sox, the Cardinals won the 1946 World Series four games to three, as Musial had six hits and four RBI. He batted .365 for the season and won his second NL MVP Award, receiving 22 out of a possible 24 first-place votes, finishing ahead of Brooklyn's Dixie Walker (.319 batting average). Musial began the 1947 season by hitting .146 in April. On May 9, team doctor Dr. Robert Hyland confirmed a previous diagnosis of appendicitis, while discovering that Musial was concurrently suffering from tonsillitis. He received treatment, but did not have either his appendix or tonsils surgically removed until after the season ended. Despite his health woes, he finished the year with a batting average of .312. Fully recovered from his ailments, Musial recorded his 1,000th career hit on April 25, 1948. After a May 7 St. Louis Globe-Democrat article criticized baseball players for appearing in cigarette advertisements, he made a personal decision to never again appear in such ads. By June 24, his batting average was .408, prompting Brooklyn pitcher Preacher Roe to comically announce his new method for retiring Musial: "Walk him on four pitches and pick him off first." Given a mid-season pay raise by new Cardinals owner Robert E. Hannegan for his outstanding performance, Musial hit a home run in the All-Star Game. On September 22, he registered five hits in a game for the fourth time in the season, tying a mark set by Ty Cobb in 1922. Musial finished the 1948 season leading the major leagues in batting average (.376), hits (230), doubles (46), triples (18), total bases (429), and slugging percentage (.702). Winning the NL batting title by a 43-point margin, with an on-base percentage lead of 27 points and a 138-point slugging percentage margin—the latter being the largest gap since Rogers Hornsby's 1925 season—Musial became the first player to win three NL MVP awards. If a home run he hit during a rained out game had been counted in his season totals, he would have won the Triple Crown by leading the NL in batting average, home runs, and runs batted in. Anticipating life after his baseball career, Musial began the first of several business partnerships with Julius "Biggie" Garagnani in January 1949, opening "Stan Musial & Biggie's" restaurant. He approached the 1949 season with the intent to try to hit more home runs, stating he had hit 39 the previous season "without trying". His new focus on hitting for power backfired, as pitchers began using the outside part of the plate to induce him to ground out to the first or second baseman. Musial soon stopped focusing on hitting home runs and resumed his consistent offensive production by the end of May. He received his sixth consecutive All-Star player selection and finished the season leading the NL in hits (207) while playing in every game. However, the Cardinals, with 96 wins, finished one game behind the Dodgers. In the late 1940s, when baseball was slowly becoming integrated, Musial—along with his roommate Red Schoendienst—would be lauded by newcomers such as Dodgers' pitcher Don Newcombe for their tolerance. "They never...had the need to sit in the dugout and call a black guy a bunch of names", Newcombe said, "because he was trying to change the game and make it what it should have been in the first place, a game for all people." 1950–1954 Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season—a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial led the National League with a .355 batting average, 355 total bases, 124 runs and 12 triples. He finished second in NL MVP voting for the third year in a row and was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. Oddly enough, as a young child, Colbert was in attendance as Musial set his record. 1955–1959 Musial made his 12th NL All-Star appearance in 1955 as a reserve player, when Cincinnati's Ted Kluszewski outpolled him by 150,000 votes to get on the starting lineup at first base. Musial entered the game as a pinch hitter in the fourth inning, and played left field as the game entered extra innings. Leading off the bottom of the 12th, he hit a home run to give the NL a 6–5 victory. The 1956 season marked another milestone for Musial, when he broke Mel Ott's NL record for extra-base hits on August 12. Earlier that season, Cardinals general manager "Trader Frank" Lane began negotiations to trade him for Philadelphia pitcher Robin Roberts. When Cardinals owner Gussie Busch learned of the possible move, he made it clear that Musial was not available for any trade. Instead, Lane dealt Musial's close friend Schoendienst to the New York Giants; an upset Musial made no immediate comment to the press. On June 11, 1957, Musial tied the NL record for consecutive games played with his 822nd, a streak that began on the last day of the 1951 season. Despite ballot stuffing by Cincinnati Reds fans, he was selected and played in the All-Star Game held at Sportsman's Park. When he overextended his swing while batting during a game on August 23, Musial fractured a bone in his left shoulder socket and tore muscles over his collarbone. He was unable to play again until September 8, ending his consecutive games-played streak at 895. He finished 1957 as Sports Illustrateds "Sportsman of the Year". Musial signed one of the first $100,000 contracts in NL history on January 29, 1958. (According to Baseball Almanac, Hank Greenberg was the first with Pittsburgh in 1947.) He quickly demonstrated a return on the investment by sharing with Willie Mays the inaugural (and for the only time in Musial's career) NL Player of the Month in May (no such award was given in April until 1969) batting .374, with 4 HR, and 16 RBI. Also that month, as he was approaching the 3,000-hit milestone in his major league career, he expressed a desire to record the hit in St. Louis. He ultimately reached the mark with a pinch-hit, sixth inning RBI double at Chicago's Wrigley Field on May 13. The eighth major league player to reach 3,000 hits, and the first to reach the milestone with an extra-base hit, Musial was greeted at St. Louis Union Station that evening by roughly 1,000 fans. Finishing the season in sixth place, the Cardinals embarked on an exhibition tour of Japan, winning 14 of 16 games against top players from the Central and Pacific Japanese Leagues. Taking a new approach to preparation for the 1959 season, Musial was given permission to report late to spring training so that he might conserve his energy for the duration of the year. Musial, at tall, had maintained a weight of around throughout his career. He reported to spring training approximately overweight and in substandard physical condition. He began the season with one hit in 15 at-bats. Despite his early offensive struggles, he single-handedly spoiled potential no-hitters on April 16 and 19. A game-winning home run on May 7 made him the first major league player ever with 400 home runs and 3,000 hits. As he continued to hit at a relatively low pace, his playing time was limited by Cardinals manager Solly Hemus at various points during the season. Seeking more revenue for the players' pension fund, Major League Baseball held two All-Star games in a season for the first time through 1962. Musial made his 16th All-Star appearance (16th season) and pinch-hit in both contests, flying out in the July 7 game and drawing a walk in the August 3 game. He finished the season with 115 regular game appearances, a .255 batting average, 37 runs, and a slugging percentage of .428. During the 1959 season, John F. Kennedy approached Musial about supporting Kennedy's campaign for President, citing their close ages. Musial campaigned for Kennedy later that year and became a supporter of the Democratic Party. On June 30, 1959, Musial was the batter in one of the oddest plays in baseball history. In a game between the Cardinals and Chicago Cubs, he was at the plate with a count of 3–1. Bob Anderson's next pitch was errant, evading catcher Sammy Taylor and rolling all the way to the backstop. Umpire Vic Delmore called ball four, even as Anderson and Taylor contended that Musial had foul tipped the ball. Because the ball was still in play and Delmore was embroiled in an argument with the catcher and pitcher, Musial kept running in attempt to make second base. Seeing that Musial was trying for second, Alvin Dark ran to the backstop to retrieve the ball. The ball wound up in the hands of field announcer Pat Pieper, but Dark ended up getting it back anyway. Absentmindedly, however, Delmore pulled out a new ball and gave it to Taylor. Anderson finally noticed that Musial was trying for second, took the new ball, and threw it to second baseman Tony Taylor. Anderson's throw flew over Taylor's head into the outfield. Dark, at the same time that Anderson threw the new ball, threw the original ball to shortstop Ernie Banks. Musial did not see Dark's throw and only noticed Anderson's ball fly over the second baseman's head, so he tried to go to third base. On his way there, he was tagged by Banks, and after a delay he was ruled out. 1960–1963 Based on his 1959 performance, Musial accepted a pay cut in 1960 from his previous $100,000 salary to $80,000. He was eager to prove that his mediocre performance was the result of improper physical conditioning, and he enlisted the help of Walter Eberhardt, Saint Louis University's director of physical education. In June 1960, newspaper articles began speculating that Musial would soon retire, yet he finished the season with a .275 batting average. He addressed the speculation in September, confirming that he would play again in 1961. His .288 batting average that season reaffirmed his decision. In 1962, Musial posted a .330 batting average, good for third in the batting race, with 19 homers and 82 RBI. As a pinch-hitter, he had 14 base hits in 19 at-bats (.737). Along the way, he established new NL career marks for hits and RBI. That same year on July 8, the 41-year-old Musial became the oldest player ever to hit three home runs in one game. The Cardinals began 1963 by winning 10 of their first 15 games, as Musial posted a .237 batting average. He set a new major league record for career extra-base hits on May 8 and improved his batting average to .277 by the end of the month. Making his 20th All-Star appearance and 24th All-Star Game appearance on July 9, 1963, he pinch-hit in the fifth inning. Asked by general manager Bing Devine on July 26 what his plans were, Musial said that he would retire at season's end. He waited until the Cardinals team picnic on August 12 to publicly announce his decision, hopeful he could retire on a winning note. Musial became a grandfather for the first time in the early hours of September 10; later that day, he hit a home run in his first at-bat. After sweeping a doubleheader on September 15, the Cardinals had won 19 of their last 20 games, and were one game behind the Los Angeles Dodgers. The Dodgers then swept the Cardinals in a three-game series in St. Louis and clinched the NL pennant on September 25. Musial's last game, on September 29, 1963, was preceded by an hour-long retirement ceremony. Speakers at the event included baseball commissioner Ford Frick, Cardinals broadcaster Harry Caray, and Cardinals owner Gussie Busch, who announced that Musial's uniform number "6" would be retired by the team. During the game, Musial recorded a single in the fourth inning, then hit a single to right field that scored teammate Curt Flood in the sixth. Cardinals manager Johnny Keane brought in Gary Kolb as a pinch-runner for Musial, bringing his major league career to an end. Just as he had recorded two base hits in his major league debut, Musial finished his last game with two hits, as well. Musial finished with the all-time National League hits record and second to only Ty Cobb on the all-time Major League list. Musial's last career hit was out of reach of Cincinnati Reds second baseman Pete Rose, who would go on to break Cobb's record to become baseball's all-time hit king. At the time of his retirement, Musial held or shared 17 major league records, 29 NL records, and nine All-Star Game records. Among those records, he ranked as the major league career leader in extra-base hits (1,377) and total bases (6,134). He also held NL career marks in categories such as hits (3,630), games played (3,026), doubles (725), and RBI (1,951). He finished his career with 475 home runs despite never having led the NL in the category. Jerry Lansche speculates Musial would likely have become the second player, after Babe Ruth, with 2,000 RBI, and would have exceeded 500 career home runs had he not served in the military. His lowest full season RBI output before the war was 72 (in 1942) and as he needed only 49 RBI to reach 2,000 for his full career, he certainly would have exceeded 2,000 RBI by playing without injury in 1945. His home run production is a different story and it is highly unlikely he would have reached 500. He did not hit more than 13 home runs in any season before he entered the navy and did not hit as many as 25 (the number he would have needed to become a 500 career homer club member) until 1948, 3 years after returning to baseball from World War II. His career hit total was evenly split between 1,815 hits at home and 1,815 hits on the road. Steven R. Bullock speculates that it is possible that without military service Musial might have continued playing to attempt to exceed Ty Cobb's career hit record of 4,191. He was the first major league player to appear in more than 1,000 games at two different positions, registering 1,896 games in the outfield and 1,016 at first base. Since Musial's retirement in 1963, Tony Gwynn has been the only player to finish his career with a higher lifetime batting average. Hank Aaron has been the only player to surpass his record of 6,134 total bases. In Musial's 3,026 major league appearances, he was never ejected from a game. Speaking about his quiet reputation within the sport's history, sportscaster Bob Costas said, "He didn't hit a homer in his last at-bat; he hit a single. He didn't hit in 56 straight games. He married his high school sweetheart and stayed married to her. ... All Musial represents is more than two decades of sustained excellence and complete decency as a human being." Post-playing career and family life Musial was named a vice president of the St. Louis Cardinals in September 1963, and he remained in that position until after the 1966 season. From February 1964 to January 1967, he also served as President Lyndon B. Johnson's physical fitness adviser, a part-time position created to promote better fitness among American citizens. Before the 1967 season began, the Cardinals named Musial the team's general manager, and he oversaw the club's World Series championship that year. He won the allegiance of Cardinals players by making fair offers from the outset of player-contract negotiations and creating an in-stadium babysitting service so players' wives could attend games. His longtime business partner, Biggie Garagnani, died in June 1967, prompting Musial to devote more time to managing his restaurant and other business interests. He came to realize that the detail-oriented desk job was not his forte. He consequently decided to step down as general manager, before even completing a full year on the job. Musial—like Phil Linz—was noted for his harmonica playing, which included his rendition of "Take Me Out to the Ball Game". Throughout the 1990s, he frequently played the harmonica at public gatherings, such as the annual Baseball Hall of Fame induction ceremony and various charity events. He appeared on the television show Hee Haw in 1985, and in 1994 recorded 18 songs that were sold in tandem with a harmonica-playing instruction booklet. Even though Musial left Donora after high school, he retained close ties to the town throughout the rest of his life. He maintained membership in local social clubs, and regularly sent a local doctor boxes of autographed baseballs, with the town's mayor using some for United Way fundraising. Musial also gave free meals at the restaurant he owned in St. Louis to any customers who presented valid ID proving they were Donora residents. Musial met Lillian Susan Labash, the daughter of a local grocer, in Donora when both were 15, and married her in St. Paul's Catholic Church in Daytona Beach, Florida on May 25, 1940. They had four children: son Richard, and daughters Gerry, Janet, and Jeanie. Lillian Musial died at 91, on May 3, 2012; their marriage had lasted for almost 72 years. During his playing years, Musial believed in racial equality and supported Jackie Robinson's right to play. After learning about the harmful effect of smoking in the 1950s, he refused to endorse tobacco products. Honors and recognition On August 4, 1968, a statue of Musial was erected outside of Busch Memorial Stadium on the northeast grounds of the St. Louis stadium. The statue was moved from its original location to the west side of the new Busch Stadium for its first season in 2006, where it became a popular meeting place for generations of Cardinals fans. Musial's statue is inscribed with a quote attributed to former baseball commissioner Ford Frick: "Here stands baseball's perfect warrior. Here stands baseball's perfect knight." In 1968, Musial received the Golden Plate Award of the American Academy of Achievement. Musial was elected to the Baseball Hall of Fame in his first year of eligibility in , when he was named on 93.2% of the ballots. On June 14, 1973, he was the first inductee into the National Polish-American Hall of Fame, housed at St. Mary's College in Orchard Lake, Michigan. In 1989, he was inducted into the St. Louis Walk of Fame. Five years later, a baseball field was named after him in his hometown of Donora. He was ranked tenth on The Sporting News list of the 100 Greatest Baseball Players published in 1998. He was also one of the 30 players selected to the Major League Baseball All-Century Team, added by a special committee after he finished 11th in fan voting among outfielders. In 2000, he was inducted into the Hall of Famous Missourians, and a bronze bust depicting him is on permanent display in the rotunda of the Missouri State Capitol. In January 2014, the Cardinals announced Musial among 22 former players and personnel to be inducted into the St. Louis Cardinals Hall of Fame Museum for the inaugural class of 2014. Nearly two decades after Musial retired, baseball statistician Bill James and the sabermetrics movement began providing new ways of comparing players across baseball history. In 2001, James ranked Musial the tenth-greatest baseball player in history, and the second-best left fielder of all time. According to Baseball-Reference.com, he ranks fifth all-time among hitters on the Black Ink Test, and third all-time on the Gray Ink Test—measures designed to compare players of different eras. He ranks first on Baseball-Reference's Hall of Fame Monitor Test, and is tied for second in the Hall of Fame Career Standards Test. Despite his statistical accomplishments, he is sometimes referred to as the most underrated or overlooked athlete in modern American sports history. For instance, in his analysis of baseball's under- and overrated players in 2007, sportswriter Jayson Stark said, "I can't think of any all-time great in any sport who gets left out of more who's-the-greatest conversations than Stan Musial." Musial threw out the first pitch in the fifth game of the 2006 World Series and delivered the ceremonial first pitch ball to President Barack Obama at the 2009 Major League Baseball All-Star Game. A "Stan the Man" day was held in his honor by the Cardinals on May 18, 2008. In 2010, another one of the Cardinals' greatest sluggers, Albert Pujols, whose nickname was "El Hombre", said he didn't want to be called "The Man", even in Spanish, because "There is one man that gets that respect, and that is Stan Musial." Also in 2010, the Cardinals launched a campaign to build support for awarding Musial the Presidential Medal of Freedom for his lifetime of achievement and service. The campaign realized its goal, and on February 15, 2011, Musial was awarded the Presidential Medal of Freedom by President Barack Obama who called him "an icon untarnished, a beloved pillar of the community, a gentleman you'd want your kids to emulate." On October 18, 2012, Musial made his final appearance at Busch Stadium, riding in a golf cart around the field before Game 4 of the National League Championship Series. Musial stopped at both dugouts and greeted San Francisco Giants manager Bruce Bochy and Cardinals manager Mike Matheny. The Cardinals would go on to win Game 4 by a score of 8–3, but lost the pennant to the Giants. MLB statistics Hitting Fielding Value Death On January 19, 2013, Musial died at age 92 of natural causes at his home in Ladue, Missouri, on the same day as fellow MLB Hall of Fame inductee Earl Weaver. Musial was surrounded by his family as he died peacefully. Cardinals owner Bill DeWitt, Jr. released the following statement: Upon hearing the news of his death, fans gathered and began an impromptu memorial at his statue outside Busch Stadium; the Cardinals issued a release saying the memorial would be left in place for some time. In a laudatory obituary, The New York Times quoted famed New York manager Leo Durocher: "There is only one way to pitch to Musial—under the plate." Missouri Governor Jay Nixon commented: "Stan Musial was a great American hero who—with the utmost humility—inspired us all to aim high and dream big. The world is emptier today without him, but far better to have known him. The legacy of 'baseball's perfect warrior' will endure and inspire generations to come." St. Louis Mayor Francis Slay tweeted: "Sad as we are, we are fortunate to have had Stan in STL for so long, and are also glad that Stan and Lil are together again." He ordered flags at half-staff in the city. "Major League Baseball has lost one of its true legends in Stan Musial, a Hall of Famer in every sense and a man who led a great American life", Commissioner Bud Selig said. "He was the heart and soul of the historic St. Louis Cardinals franchise for generations, and he served his country during World War II. A recipient of the Presidential Medal of Freedom in 2011, Stan's life embodies baseball's unparalleled history and why this game is the national pastime." Thousands of fans braved cold temperatures on January 24 for a public visitation at the Cathedral Basilica of Saint Louis, where Musial lay in state, dressed in his trademark cardinal-red blazer and with a harmonica in his lapel pocket, flanked by a Navy honor guard. A private funeral Mass was held on Saturday, January 26, 2013, at the New Cathedral in St. Louis, televised locally by KTVI and KPLR as well as Fox Sports Midwest on pay-television. New York's Cardinal Timothy Dolan, who in his first episcopal post served as an auxiliary bishop of the Archdiocese of Saint Louis, was the principal celebrant, and Knoxville's Bishop Richard F. Stika, Musial's former parish priest, was the homilist. Bob Costas gave the principal eulogy, calling him "the genuine hero who as the years and decades passed, and disillusionment came from other directions, never once let us down", and quoting fellow Cooperstown honoree Mickey Mantle, who once said that Musial "was a better player than me because he was a better man than me". Legacy As a reflection of his popularity, Musial has had infrastructure named after him. In May 2011, the Pennsylvania State Senate changed the name of the bridge that carries the C. Vance Deicas Memorial Highway (S.R. 1077) over the Monongahela River from Donora-Monessen Bridge to Stan Musial Bridge after Musial who was a native of the area. In October 2013, the St. Louis Fire Department started operating a fireboat named after Musial. In July 2013, the new Interstate 70 bridge over the Mississippi River between Illinois and Missouri at St. Louis received the official name of Stan Musial Veterans Memorial Bridge. In 2013, the Bob Feller Act of Valor Award honored Musial as one of 37 Baseball Hall of Fame members for his service in the United States Navy during World War II. See also 3,000 hit club DHL Hometown Heroes List of Major League Baseball annual doubles leaders List of Major League Baseball annual triples leaders List of Major League Baseball annual runs scored leaders List of Major League Baseball career at-bat leaders List of Major League Baseball career bases on balls leaders List of Major League Baseball career doubles leaders List of Major League Baseball career extra base hits leaders List of Major League Baseball career games played leaders List of Major League Baseball career on-base percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career plate appearance leaders List of Major League Baseball career runs batted in leaders List of Major League Baseball career runs scored leaders List of Major League Baseball career singles leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career triples leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball players who spent their entire career with one franchise List of Major League Baseball runs records List of Major League Baseball single-season triples leaders List of Major League Baseball triples records List of members of the Baseball Hall of Fame List of Presidential Medal of Freedom recipients List of St. Louis Cardinals in the Baseball Hall of Fame List of St. Louis Cardinals owners and executives List of St. Louis Cardinals team records Lou Gehrig Memorial Award Major League Baseball titles leaders Sporting News Player of the Year Award Sports Illustrated Sportsperson of the Year St. Louis Cardinals all-time roster St. Louis Cardinals award winners and league leaders Notes References Bibliography External links Stan Musial at SABR (Baseball BioProject) Missing Man – Baseball Hall of Fame The National Baseball Hall of Fame Remembers Stan Musial Stan Musial: The Man – slideshow by Life magazine The Sporting News – interview with Stan Musial and Tony Gwynn, July 1997 1920 births 2013 deaths United States Navy personnel of World War II American people of Rusyn descent American people of Polish descent American sportsmen Baseball players from Pennsylvania Baseball players from St. Louis Daytona Beach Islanders players Neurological disease deaths in Missouri Deaths from Alzheimer's disease Major League Baseball first basemen Major League Baseball left fielders Major League Baseball players with retired numbers National Baseball Hall of Fame inductees National League All-Stars National League batting champions National League Most Valuable Player Award winners National League RBI champions People from Donora, Pennsylvania Presidential Medal of Freedom recipients Rochester Red Wings players St. Louis Cardinals executives St. Louis Cardinals players Sportspeople from St. Louis County, Missouri Springfield Cardinals players United States Navy sailors Williamson Colts players Williamson Red Birds players	false	[ "The 2000–01 Louisville Cardinals men's basketball team represented the University of Louisville in the 2000–01 NCAA Division I men's basketball season, the university's 87th season of intercollegiate competition. The head coach was Denny Crum and the team finished the season with an overall record of 12-19. It was Crum's last season as head coach of Louisville, ending the longest tenure of any Louisville head basketball coach. Crum also became the winningest coach of the Louisville basketball team during his 30-year coaching career, with 675 wins. Rick Pitino replaced Crum after the season ended.\n\nRegular season\nThe Cardinals began their regular season on November 17 with an 86-71 win over Hawaii. However, the Cardinals went on a five-game losing streak from November 22 until an 86-70 win over Loyola (Chicago) ended the streak on December 18. They won again on December 21 by a score of 89-86 over Murray State, but lost the next four games between December 23 and January 10, 2001. The Cardinals never won more than two games in a row, with their largest losses coming against Alabama by a score of 100-71 on November 30, and against Charlotte by a score of 106-72 on February 11.\n\nPostseason\nOn Wednesday March 7, 2001, the Cardinals played UAB for the first round of the Conference USA Tournament. Led by Murry Bartow, the Blazers defeated the Cardinals 71-64, leaving the Cardinals with a final record of 12-19 The Cardinals did not play in the NCAA Tournament.\n\nAwards\nLouisville distributed the following awards at the end of the season:\nPeck Hickman Most Valuable Player Award\nMarques Maybin\nMost Improved Player\nRashad Brooks\nMost Three Points Awards\nReece Gaines\nMost Assists Awards\nReece Gaines\nBest Defensive Player\nJoseph N'Sima\nBest First-Year Player\nJoseph N'Sima\nRebound Award\nJoseph N'Sima\nBest Field Goal Percentage Award\nHajj Turner\nBest Free-Throw Percentage\nErik Brown\nScholar-Athlete Award\nMuhammed Lasege\nMost Inspirational Player Award\nBryant Northern\nCoaches' Award\nSimeon Naydenov\n\nCoaching change\nAt the end of the season, coach Denny Crum retired from coaching the Cardinals, with the original announcement coming on March 2, 2001. The soon-to-be coach Rick Pitino visited the campus on March 14, 2001. He held his first press conference on March 23, 2001 at 6:30 PM EDT. On April 17, a rally was held commemorating the new head coach. Two days later, Pitino completed the basketball staff.\n\nReferences\n\nLouisville Cardinals men's basketball seasons\nLouisville\nLouisville Cardinals men's basketball, 2000-01\nLouisville Cardinals men's basketball, 2000-01", "Ronald Maurice Cahill (1915-1992) was a National Football League quarterback for the Chicago Cardinals.\n\nHe was signed by the Cardinals as a replacement for Bud Schwenk, who had joined the armed forces. In his only National Football League season, Cahill led the league in interceptions but did not win any of the ten games in which he played.\n\nIn 1946, Cahill signed with the Buffalo Bisons of the newly formed All-America Football Conference, but did not appear in any games.\n\nReferences\n\n1915 births\n1992 deaths\nPeople from Leominster, Massachusetts\nSportspeople from Worcester County, Massachusetts\nPlayers of American football from Massachusetts\nAmerican football halfbacks\nAmerican football quarterbacks\nHoly Cross Crusaders football players\nChicago Cardinals players" ]
[ "Stan Musial", "1950-54", "What happened to Stan Musial during 1955-54?", "Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game,", "What team was he playing for at this time?", "Cardinals", "Did he win in the all star game?", "in fan balloting he was the NL's number two choice.", "Did he win any awards during his time with the cardinals?", "while Musial was named The Sporting News Major League Player of the Year." ]	C_60743ec98be8478ca8c3b2032372f832_0	Did he sustain any injuries during these years?	5	Did Stan Musial sustain any injuries during 1955-54?	Stan Musial	Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season--a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. CANNOTANSWER	CANNOTANSWER	Stanley Frank Musial (; born Stanislaw Franciszek Musial; November 21, 1920 – January 19, 2013), nicknamed "Stan the Man", was an American baseball outfielder and first baseman. He spent 22 seasons in Major League Baseball (MLB), playing for the St. Louis Cardinals, from 1941 to 1944 and from 1946 to 1963. Widely considered to be one of the greatest and most consistent hitters in baseball history, Musial was a first-ballot inductee into the Baseball Hall of Fame in 1969. He batted .331 over the course of his career and set National League (NL) records for career hits (3,630), runs batted in (1,951), games played (3,026), at bats (10,972), runs scored (1,949) and doubles (725). His 475 career home runs then ranked second in NL history behind Mel Ott's total of 511. A seven-time batting champion, he was named the National League's (NL) Most Valuable Player (MVP) three times and was a member of three World Series championship teams. He also shares the major league record for the most All-Star Games played (24) with Hank Aaron and Willie Mays. Musial was born in Donora, Pennsylvania, where he frequently played baseball informally or in organized settings, and eventually played on the baseball team at Donora High School. Signed to a professional contract by the St. Louis Cardinals as a pitcher in 1938, Musial was converted into an outfielder and made his major league debut in 1941. Noted for his unique batting stance, he quickly established himself as a consistent and productive hitter. In his first full season, 1942, the Cardinals won the World Series. The following year, he led the NL in six different offensive categories and earned his first MVP award. He was also named to the NL All-Star squad for the first time; he appeared in every All-Star game in every subsequent season he played. Musial won his second World Series championship in 1944, then missed the entire 1945 season while serving in the Navy. After completing his military service during the war, Musial returned to baseball in 1946 and resumed his consistent hitting. That year he earned his second MVP award and third World Series title. His third MVP award came in 1948, when he finished one home run short of winning baseball's Triple Crown. After struggling offensively in 1959, Musial used a personal trainer to help maintain his productivity until he decided to retire in 1963. At the time of his retirement, he held or shared 17 major league records, 29 National League records, and nine All-Star Game records. In addition to overseeing personal businesses, including a restaurant, both before and after his playing career, Musial served as the Cardinals' general manager in 1967, winning the pennant and World Series, then resigning that position. Musial was selected for the Major League Baseball All-Century Team in 1999. In February 2011, President Barack Obama presented Musial with the Presidential Medal of Freedom, the highest civilian award that can be bestowed on a person by the United States government. Early life Musial was born in Donora, Pennsylvania, the fifth of the six children (four girls and two boys) of Lukasz Musial (originally Musiał; ) and Mary Lancos. His mother was of Carpatho-Rusyn descent, and his father was a Polish immigrant who always referred to his son by the Polish nickname Stasiu, pronounced "Stashu". Young Stan frequently played baseball with his brother Ed and other friends during his childhood, and considered Lefty Grove his favorite ballplayer. Musial also learned about baseball from his neighbor Joe Barbao, a former minor league pitcher. When he enrolled in school, his name was formally changed to Stanley Frank Musial. At age 15, Musial joined the Donora Zincs, a semi-professional team managed by Barbao. In his Zincs debut, he pitched six innings and struck out 13 batters, all of them adults. He played one season on the newly revived Donora High School baseball team, where one of his teammates was Buddy Griffey, father of MLB player Ken Griffey Sr. and grandfather to Ken Griffey Jr. Baseball statistician Bill James described the younger Griffey, in comparison to Musial, as "the second-best left-handed hitting, left-handed throwing outfielder ever born in Donora, Pennsylvania, on November 21." His exploits as a rising player in Pennsylvania earned him the nickname "The Donora Greyhound". Musial also played basketball and was offered an athletic scholarship in that sport by the University of Pittsburgh. Meanwhile, the St. Louis Cardinals had scouted Musial as a pitcher and, in 1937, offered him a professional contract after a workout with their Class D Penn State League affiliate. Musial's father initially resisted the idea of his son pursuing a baseball career, but he reluctantly gave consent after lobbying by his son and his wife. Musial also credited his school librarian Helen Kloz for pointing out that baseball was his dream and advising him to pursue it professionally. In what was then a common practice, the Cardinals did not file the contract with the baseball commissioner's office until June 1938. This preserved Musial's amateur eligibility, and he was still able to participate in high school sports, leading Donora High School's basketball team to a playoff appearance. He then reported to the Cardinals' Class D affiliate in West Virginia, the Williamson Red Birds. Professional baseball career Minor leagues (1938–1941) Musial's rookie year with Williamson in 1938 was a period of adjustment both on and off the field. He began gaining more in-depth knowledge about baseball strategy while posting a 6–6 win–loss record and a 4.66 earned run average (ERA), to go along with a .258 batting average. Off the field, he experienced feelings of homesickness while learning to live comfortably and independently on his $65-per-month salary (). Musial finished his high school education before returning to Williamson in spring 1939. That season his numbers improved to a 9–2 record, a 4.30 ERA, and a .352 batting average. Musial spent the 1940 season with the Cardinals' other Class D team, the Daytona Beach Islanders, where he developed a lifelong friendship with manager Dickie Kerr. His pitching skills improved under the guidance of Kerr, who also recognized his hitting talent, playing him in the outfield between pitching starts. On May 25, 1940, Musial married fellow Donora resident, Lillian "Lil" Labash, in Daytona Beach, and the couple's first child followed in August. During late August, Musial suffered a shoulder injury while playing in the outfield, and later made an early exit as the starting pitcher in a 12–5 playoff game loss. For a while Musial considered leaving baseball entirely, complaining that he could not afford to support himself and his wife on the $16 a week pay. Kerr talked him out of it, and even took the Musials into his own home to relieve the financial burden. To repay the debt, Musial bought Kerr a $20,000 () home in Houston in 1958. In 113 games in 1940 he hit .311, while compiling an 18–5 pitching record that included 176 strikeouts and 145 walks. Musial was assigned to the Class AA Columbus Red Birds to begin 1941, though manager, Burt Shotton, and Musial himself quickly realized that the previous year's injury had considerably weakened his arm. He was reassigned to the Class C Springfield Cardinals as a full-time outfielder, and he later credited manager Ollie Vanek for displaying confidence in his hitting ability. During 87 games with Springfield, Musial hit a league-leading .379 before being promoted to the Rochester Red Wings of the International League. He was noted for his unique batting stance, a crouch in which his back was seemingly square to the pitcher. This stance was later described by pitcher Ted Lyons as "a kid peeking around the corner to see if the cops were coming". According to a 1950 description by author Tom Meany, "The bent knees and the crouch give him the appearance of a coiled spring, although most pitchers think of him as a coiled rattlesnake." Musial continued to play well in Rochester—in one three-game stretch, he had 11 hits. He was called up to the Cardinals for the last two weeks of the 1941 season. Major leagues (1941–1944) Musial made his major league debut during the second game of a doubleheader at Sportsman's Park on September 17, 1941. The Cardinals were in the midst of a pennant race with the Brooklyn Dodgers; in 12 games, Musial collected 20 hits for a .426 batting average. Despite Musial's late contributions, the Cardinals finished two and one-half games behind the 100-game-winning Dodgers. Cardinals manager Billy Southworth used Musial as a left fielder to begin 1942, sometimes lifting him for a pinch-hitter against left-handed pitching. Musial was hitting .315 by late June, as the Cardinals resumed battling the Dodgers for first place in the National League (NL). The Cardinals took sole possession of first place on September 13, and when Musial caught a fly ball to end the first game of a doubleheader on September 27 they clinched the pennant with their 105th win. He finished the season with a .315 batting average and 72 runs batted in (RBI) in 140 games. Musial received national publicity when he was named by St. Louis Post-Dispatch sports editor J. Roy Stockton as his choice for Rookie of the Year in a Saturday Evening Post article. The Cardinals played the American League champion New York Yankees in the 1942 World Series. Representing the winning run at home plate in the bottom of the ninth inning of Game 1 at Sportsman's Park, Musial grounded out with the bases loaded to end the game . Musial's first hit of the Series was an RBI single that provided the margin of victory in Game 2, allowing the Cardinals to tie the Series. Over the next three games at Yankee Stadium, Musial had three more hits as the Cardinals defeated the Yankees in the Series four games to one. Musial batted .222 for the Series, with two runs scored. Musial's 1943 season started with a brief contract holdout in spring training. He made the National League All-Star team for the first time as a starting left fielder and got a double in the All-Star Game on July 13. He finished the season leading the major leagues in hitting with a .357 batting average and led the NL in hits (220), doubles (48), triples (20), total bases (347), on-base percentage (.425), and slugging percentage (.562). This performance earned him his first NL Most Valuable Player Award, ahead of teammate and catcher Walker Cooper (.318 batting average). After romping to another NL pennant by 18 games, the Cardinals again faced the Yankees in the 1943 World Series. Musial had a single in the Cardinals' Game 1 loss, and scored a run in a Game 2 win. The Cardinals did not win another game in the Series, but the loser's bonus share paid to each Cardinals player ($4,321.99, ) still amounted to nearly two-thirds of Musial's regular season salary. United States involvement in World War II began to impinge on Musial's baseball career in 1944, as he underwent a physical examination in prelude to possible service in the armed forces. He ultimately remained with the Cardinals for the entire season, posting a .347 batting average with 197 hits. The Cardinals claimed the NL pennant for the third consecutive season, and faced St. Louis's other major league team, the Browns, in the 1944 World Series. The Browns took a 2–1 lead, while Musial hit .250 with no RBI. He broke out in Game 4 with a two-run home run, single, double, and a walk as part of a 5–1 Cardinals win. The Cardinals went on to defeat the Browns in six games, and Musial posted a .304 batting average for the Series. Sojourn in the U.S. Navy (1945–46) Musial enlisted in the United States Navy on January 23, 1945, during World War II. He was initially assigned to non-combat duty at the United States Naval Training Center Bainbridge. In June 1945, he was assigned to Special Services in Hawaii, and was assigned to a ferry launch unit to bring back damaged ship crews entering Pearl Harbor where he was able to play baseball every afternoon in the naval base's eight-team league. After being granted emergency leave to see his ailing father in January 1946, he was briefly assigned to the Philadelphia Navy Yard before his honorable discharge from the Navy as a Seaman Second Class in March 1946. In 2007, Musial received the Navy Memorial's Lone Sailor Award, which honors Navy veterans who have excelled in civilian life. Major leagues (1946–1963) 1946–1949 Rejoining the Cardinals under new manager Eddie Dyer, Musial posted a .388 batting average by the middle of May 1946. He also became close friends with new teammate Red Schoendienst, who had joined the Cardinals during Musial's absence in 1945. During the season, Musial (who was under contract to the Cardinals for $13,500 in 1946) was offered a five-year, $125,000 contract, plus a $50,000 bonus, to join the Mexican League. He declined the offer, and after manager Dyer spoke to club owner Sam Breadon, Musial was given a $5,000 raise later in 1946. It was also during the 1946 season that Musial acquired his nickname of Stan the Man. During the June 23 game against the Dodgers at Ebbets Field, St. Louis Post-Dispatch sportswriter Bob Broeg heard Dodger fans chanting whenever Musial came to bat, but could not understand the words. Later that day over dinner, Broeg asked Cardinals traveling secretary Leo Ward if he had understood what the Dodger fans had been chanting. Ward said, "Every time Stan came up they chanted, 'Here comes the man!'" "'That man,' you mean", Broeg said. "No, the man", replied Ward. Broeg mentioned this story in his Post-Dispatch column, and Musial was thereafter known as Stan "The Man". In June 1946, Dyer began to use Musial as a first baseman. The Cardinals finished the season tied with the Dodgers, prompting a three-game playoff for the pennant. Musial's Game 1 triple and Game 2 double contributed to the Cardinals' two-games-to-none series victory. Facing the Boston Red Sox, the Cardinals won the 1946 World Series four games to three, as Musial had six hits and four RBI. He batted .365 for the season and won his second NL MVP Award, receiving 22 out of a possible 24 first-place votes, finishing ahead of Brooklyn's Dixie Walker (.319 batting average). Musial began the 1947 season by hitting .146 in April. On May 9, team doctor Dr. Robert Hyland confirmed a previous diagnosis of appendicitis, while discovering that Musial was concurrently suffering from tonsillitis. He received treatment, but did not have either his appendix or tonsils surgically removed until after the season ended. Despite his health woes, he finished the year with a batting average of .312. Fully recovered from his ailments, Musial recorded his 1,000th career hit on April 25, 1948. After a May 7 St. Louis Globe-Democrat article criticized baseball players for appearing in cigarette advertisements, he made a personal decision to never again appear in such ads. By June 24, his batting average was .408, prompting Brooklyn pitcher Preacher Roe to comically announce his new method for retiring Musial: "Walk him on four pitches and pick him off first." Given a mid-season pay raise by new Cardinals owner Robert E. Hannegan for his outstanding performance, Musial hit a home run in the All-Star Game. On September 22, he registered five hits in a game for the fourth time in the season, tying a mark set by Ty Cobb in 1922. Musial finished the 1948 season leading the major leagues in batting average (.376), hits (230), doubles (46), triples (18), total bases (429), and slugging percentage (.702). Winning the NL batting title by a 43-point margin, with an on-base percentage lead of 27 points and a 138-point slugging percentage margin—the latter being the largest gap since Rogers Hornsby's 1925 season—Musial became the first player to win three NL MVP awards. If a home run he hit during a rained out game had been counted in his season totals, he would have won the Triple Crown by leading the NL in batting average, home runs, and runs batted in. Anticipating life after his baseball career, Musial began the first of several business partnerships with Julius "Biggie" Garagnani in January 1949, opening "Stan Musial & Biggie's" restaurant. He approached the 1949 season with the intent to try to hit more home runs, stating he had hit 39 the previous season "without trying". His new focus on hitting for power backfired, as pitchers began using the outside part of the plate to induce him to ground out to the first or second baseman. Musial soon stopped focusing on hitting home runs and resumed his consistent offensive production by the end of May. He received his sixth consecutive All-Star player selection and finished the season leading the NL in hits (207) while playing in every game. However, the Cardinals, with 96 wins, finished one game behind the Dodgers. In the late 1940s, when baseball was slowly becoming integrated, Musial—along with his roommate Red Schoendienst—would be lauded by newcomers such as Dodgers' pitcher Don Newcombe for their tolerance. "They never...had the need to sit in the dugout and call a black guy a bunch of names", Newcombe said, "because he was trying to change the game and make it what it should have been in the first place, a game for all people." 1950–1954 Musial began the 1950s by posting a .350 batting average before participating in the 1950 All-Star Game, where in fan balloting he was the NL's number two choice. He had the longest hitting streak of his career during the 1950 season—a 30-game stretch that ended on July 27. With the Cardinals falling 14 games out of first place by September, manager Dyer used him at first base and all three outfield positions. New Cardinals manager Marty Marion led the team to a third-place finish in 1951, while Musial led the National League with a .355 batting average, 355 total bases, 124 runs and 12 triples. He finished second in NL MVP voting for the third year in a row and was named The Sporting News Major League Player of the Year. National media attention inadvertently turned to Musial a month before the 1952 season began, after Ty Cobb wrote an article regarding modern baseball players that was published in Life magazine. Cobb singled out Musial and Phil Rizzuto as the only players "who can be mentioned in the same breath with the oldtime greats". Cobb went on to refer to Musial as "a better player than Joe DiMaggio was in his prime." In response, Musial displayed his characteristic modesty, saying, "Cobb is baseball's greatest. I don't want to contradict him, but I can't say that I was ever as good as Joe DiMaggio." The only major league pitching appearance of Musial's career occurred as a publicity stunt during the last Cardinals home game of the 1952 season. Manager Eddie Stanky had a reluctant Musial pitch to Frank Baumholtz, the runner-up to Musial for the best batting average in the NL that season. With Baumholtz batting right-handed for the first time in his career, Musial's first pitch was hit so hard it ricocheted off the shin of third baseman Solly Hemus and into the left field corner. The play was ruled an error, and Musial was embarrassed enough by his complicity in the gimmick to avoid pitching again for the remainder of his career. The Cardinals franchise was up for sale in early 1953, and Musial and Schoendienst advised their friend and fellow duck-hunter Gussie Busch to consider buying the team. Busch used the resources of the Anheuser-Busch company to purchase the Cardinals, keeping Musial in St. Louis by averting the possibility of a move by the team to another city. The 1953 season marked Musial's 10th NL All-Star selection, and the 12th consecutive time he finished a major league season with a batting average above .300. Musial accomplished another historical feat on May 2, 1954, in a doubleheader in St. Louis against the New York Giants: he hit three home runs in the first contest, then added two more in the second to become the first major leaguer to hit five home runs in a doubleheader. In addition to his five home runs, he also hit a single in the first game, setting a new record of 21 total bases for a doubleheader. The only player besides Musial to hit five home runs in a doubleheader is Nate Colbert, who achieved the feat in 1972. Oddly enough, as a young child, Colbert was in attendance as Musial set his record. 1955–1959 Musial made his 12th NL All-Star appearance in 1955 as a reserve player, when Cincinnati's Ted Kluszewski outpolled him by 150,000 votes to get on the starting lineup at first base. Musial entered the game as a pinch hitter in the fourth inning, and played left field as the game entered extra innings. Leading off the bottom of the 12th, he hit a home run to give the NL a 6–5 victory. The 1956 season marked another milestone for Musial, when he broke Mel Ott's NL record for extra-base hits on August 12. Earlier that season, Cardinals general manager "Trader Frank" Lane began negotiations to trade him for Philadelphia pitcher Robin Roberts. When Cardinals owner Gussie Busch learned of the possible move, he made it clear that Musial was not available for any trade. Instead, Lane dealt Musial's close friend Schoendienst to the New York Giants; an upset Musial made no immediate comment to the press. On June 11, 1957, Musial tied the NL record for consecutive games played with his 822nd, a streak that began on the last day of the 1951 season. Despite ballot stuffing by Cincinnati Reds fans, he was selected and played in the All-Star Game held at Sportsman's Park. When he overextended his swing while batting during a game on August 23, Musial fractured a bone in his left shoulder socket and tore muscles over his collarbone. He was unable to play again until September 8, ending his consecutive games-played streak at 895. He finished 1957 as Sports Illustrateds "Sportsman of the Year". Musial signed one of the first $100,000 contracts in NL history on January 29, 1958. (According to Baseball Almanac, Hank Greenberg was the first with Pittsburgh in 1947.) He quickly demonstrated a return on the investment by sharing with Willie Mays the inaugural (and for the only time in Musial's career) NL Player of the Month in May (no such award was given in April until 1969) batting .374, with 4 HR, and 16 RBI. Also that month, as he was approaching the 3,000-hit milestone in his major league career, he expressed a desire to record the hit in St. Louis. He ultimately reached the mark with a pinch-hit, sixth inning RBI double at Chicago's Wrigley Field on May 13. The eighth major league player to reach 3,000 hits, and the first to reach the milestone with an extra-base hit, Musial was greeted at St. Louis Union Station that evening by roughly 1,000 fans. Finishing the season in sixth place, the Cardinals embarked on an exhibition tour of Japan, winning 14 of 16 games against top players from the Central and Pacific Japanese Leagues. Taking a new approach to preparation for the 1959 season, Musial was given permission to report late to spring training so that he might conserve his energy for the duration of the year. Musial, at tall, had maintained a weight of around throughout his career. He reported to spring training approximately overweight and in substandard physical condition. He began the season with one hit in 15 at-bats. Despite his early offensive struggles, he single-handedly spoiled potential no-hitters on April 16 and 19. A game-winning home run on May 7 made him the first major league player ever with 400 home runs and 3,000 hits. As he continued to hit at a relatively low pace, his playing time was limited by Cardinals manager Solly Hemus at various points during the season. Seeking more revenue for the players' pension fund, Major League Baseball held two All-Star games in a season for the first time through 1962. Musial made his 16th All-Star appearance (16th season) and pinch-hit in both contests, flying out in the July 7 game and drawing a walk in the August 3 game. He finished the season with 115 regular game appearances, a .255 batting average, 37 runs, and a slugging percentage of .428. During the 1959 season, John F. Kennedy approached Musial about supporting Kennedy's campaign for President, citing their close ages. Musial campaigned for Kennedy later that year and became a supporter of the Democratic Party. On June 30, 1959, Musial was the batter in one of the oddest plays in baseball history. In a game between the Cardinals and Chicago Cubs, he was at the plate with a count of 3–1. Bob Anderson's next pitch was errant, evading catcher Sammy Taylor and rolling all the way to the backstop. Umpire Vic Delmore called ball four, even as Anderson and Taylor contended that Musial had foul tipped the ball. Because the ball was still in play and Delmore was embroiled in an argument with the catcher and pitcher, Musial kept running in attempt to make second base. Seeing that Musial was trying for second, Alvin Dark ran to the backstop to retrieve the ball. The ball wound up in the hands of field announcer Pat Pieper, but Dark ended up getting it back anyway. Absentmindedly, however, Delmore pulled out a new ball and gave it to Taylor. Anderson finally noticed that Musial was trying for second, took the new ball, and threw it to second baseman Tony Taylor. Anderson's throw flew over Taylor's head into the outfield. Dark, at the same time that Anderson threw the new ball, threw the original ball to shortstop Ernie Banks. Musial did not see Dark's throw and only noticed Anderson's ball fly over the second baseman's head, so he tried to go to third base. On his way there, he was tagged by Banks, and after a delay he was ruled out. 1960–1963 Based on his 1959 performance, Musial accepted a pay cut in 1960 from his previous $100,000 salary to $80,000. He was eager to prove that his mediocre performance was the result of improper physical conditioning, and he enlisted the help of Walter Eberhardt, Saint Louis University's director of physical education. In June 1960, newspaper articles began speculating that Musial would soon retire, yet he finished the season with a .275 batting average. He addressed the speculation in September, confirming that he would play again in 1961. His .288 batting average that season reaffirmed his decision. In 1962, Musial posted a .330 batting average, good for third in the batting race, with 19 homers and 82 RBI. As a pinch-hitter, he had 14 base hits in 19 at-bats (.737). Along the way, he established new NL career marks for hits and RBI. That same year on July 8, the 41-year-old Musial became the oldest player ever to hit three home runs in one game. The Cardinals began 1963 by winning 10 of their first 15 games, as Musial posted a .237 batting average. He set a new major league record for career extra-base hits on May 8 and improved his batting average to .277 by the end of the month. Making his 20th All-Star appearance and 24th All-Star Game appearance on July 9, 1963, he pinch-hit in the fifth inning. Asked by general manager Bing Devine on July 26 what his plans were, Musial said that he would retire at season's end. He waited until the Cardinals team picnic on August 12 to publicly announce his decision, hopeful he could retire on a winning note. Musial became a grandfather for the first time in the early hours of September 10; later that day, he hit a home run in his first at-bat. After sweeping a doubleheader on September 15, the Cardinals had won 19 of their last 20 games, and were one game behind the Los Angeles Dodgers. The Dodgers then swept the Cardinals in a three-game series in St. Louis and clinched the NL pennant on September 25. Musial's last game, on September 29, 1963, was preceded by an hour-long retirement ceremony. Speakers at the event included baseball commissioner Ford Frick, Cardinals broadcaster Harry Caray, and Cardinals owner Gussie Busch, who announced that Musial's uniform number "6" would be retired by the team. During the game, Musial recorded a single in the fourth inning, then hit a single to right field that scored teammate Curt Flood in the sixth. Cardinals manager Johnny Keane brought in Gary Kolb as a pinch-runner for Musial, bringing his major league career to an end. Just as he had recorded two base hits in his major league debut, Musial finished his last game with two hits, as well. Musial finished with the all-time National League hits record and second to only Ty Cobb on the all-time Major League list. Musial's last career hit was out of reach of Cincinnati Reds second baseman Pete Rose, who would go on to break Cobb's record to become baseball's all-time hit king. At the time of his retirement, Musial held or shared 17 major league records, 29 NL records, and nine All-Star Game records. Among those records, he ranked as the major league career leader in extra-base hits (1,377) and total bases (6,134). He also held NL career marks in categories such as hits (3,630), games played (3,026), doubles (725), and RBI (1,951). He finished his career with 475 home runs despite never having led the NL in the category. Jerry Lansche speculates Musial would likely have become the second player, after Babe Ruth, with 2,000 RBI, and would have exceeded 500 career home runs had he not served in the military. His lowest full season RBI output before the war was 72 (in 1942) and as he needed only 49 RBI to reach 2,000 for his full career, he certainly would have exceeded 2,000 RBI by playing without injury in 1945. His home run production is a different story and it is highly unlikely he would have reached 500. He did not hit more than 13 home runs in any season before he entered the navy and did not hit as many as 25 (the number he would have needed to become a 500 career homer club member) until 1948, 3 years after returning to baseball from World War II. His career hit total was evenly split between 1,815 hits at home and 1,815 hits on the road. Steven R. Bullock speculates that it is possible that without military service Musial might have continued playing to attempt to exceed Ty Cobb's career hit record of 4,191. He was the first major league player to appear in more than 1,000 games at two different positions, registering 1,896 games in the outfield and 1,016 at first base. Since Musial's retirement in 1963, Tony Gwynn has been the only player to finish his career with a higher lifetime batting average. Hank Aaron has been the only player to surpass his record of 6,134 total bases. In Musial's 3,026 major league appearances, he was never ejected from a game. Speaking about his quiet reputation within the sport's history, sportscaster Bob Costas said, "He didn't hit a homer in his last at-bat; he hit a single. He didn't hit in 56 straight games. He married his high school sweetheart and stayed married to her. ... All Musial represents is more than two decades of sustained excellence and complete decency as a human being." Post-playing career and family life Musial was named a vice president of the St. Louis Cardinals in September 1963, and he remained in that position until after the 1966 season. From February 1964 to January 1967, he also served as President Lyndon B. Johnson's physical fitness adviser, a part-time position created to promote better fitness among American citizens. Before the 1967 season began, the Cardinals named Musial the team's general manager, and he oversaw the club's World Series championship that year. He won the allegiance of Cardinals players by making fair offers from the outset of player-contract negotiations and creating an in-stadium babysitting service so players' wives could attend games. His longtime business partner, Biggie Garagnani, died in June 1967, prompting Musial to devote more time to managing his restaurant and other business interests. He came to realize that the detail-oriented desk job was not his forte. He consequently decided to step down as general manager, before even completing a full year on the job. Musial—like Phil Linz—was noted for his harmonica playing, which included his rendition of "Take Me Out to the Ball Game". Throughout the 1990s, he frequently played the harmonica at public gatherings, such as the annual Baseball Hall of Fame induction ceremony and various charity events. He appeared on the television show Hee Haw in 1985, and in 1994 recorded 18 songs that were sold in tandem with a harmonica-playing instruction booklet. Even though Musial left Donora after high school, he retained close ties to the town throughout the rest of his life. He maintained membership in local social clubs, and regularly sent a local doctor boxes of autographed baseballs, with the town's mayor using some for United Way fundraising. Musial also gave free meals at the restaurant he owned in St. Louis to any customers who presented valid ID proving they were Donora residents. Musial met Lillian Susan Labash, the daughter of a local grocer, in Donora when both were 15, and married her in St. Paul's Catholic Church in Daytona Beach, Florida on May 25, 1940. They had four children: son Richard, and daughters Gerry, Janet, and Jeanie. Lillian Musial died at 91, on May 3, 2012; their marriage had lasted for almost 72 years. During his playing years, Musial believed in racial equality and supported Jackie Robinson's right to play. After learning about the harmful effect of smoking in the 1950s, he refused to endorse tobacco products. Honors and recognition On August 4, 1968, a statue of Musial was erected outside of Busch Memorial Stadium on the northeast grounds of the St. Louis stadium. The statue was moved from its original location to the west side of the new Busch Stadium for its first season in 2006, where it became a popular meeting place for generations of Cardinals fans. Musial's statue is inscribed with a quote attributed to former baseball commissioner Ford Frick: "Here stands baseball's perfect warrior. Here stands baseball's perfect knight." In 1968, Musial received the Golden Plate Award of the American Academy of Achievement. Musial was elected to the Baseball Hall of Fame in his first year of eligibility in , when he was named on 93.2% of the ballots. On June 14, 1973, he was the first inductee into the National Polish-American Hall of Fame, housed at St. Mary's College in Orchard Lake, Michigan. In 1989, he was inducted into the St. Louis Walk of Fame. Five years later, a baseball field was named after him in his hometown of Donora. He was ranked tenth on The Sporting News list of the 100 Greatest Baseball Players published in 1998. He was also one of the 30 players selected to the Major League Baseball All-Century Team, added by a special committee after he finished 11th in fan voting among outfielders. In 2000, he was inducted into the Hall of Famous Missourians, and a bronze bust depicting him is on permanent display in the rotunda of the Missouri State Capitol. In January 2014, the Cardinals announced Musial among 22 former players and personnel to be inducted into the St. Louis Cardinals Hall of Fame Museum for the inaugural class of 2014. Nearly two decades after Musial retired, baseball statistician Bill James and the sabermetrics movement began providing new ways of comparing players across baseball history. In 2001, James ranked Musial the tenth-greatest baseball player in history, and the second-best left fielder of all time. According to Baseball-Reference.com, he ranks fifth all-time among hitters on the Black Ink Test, and third all-time on the Gray Ink Test—measures designed to compare players of different eras. He ranks first on Baseball-Reference's Hall of Fame Monitor Test, and is tied for second in the Hall of Fame Career Standards Test. Despite his statistical accomplishments, he is sometimes referred to as the most underrated or overlooked athlete in modern American sports history. For instance, in his analysis of baseball's under- and overrated players in 2007, sportswriter Jayson Stark said, "I can't think of any all-time great in any sport who gets left out of more who's-the-greatest conversations than Stan Musial." Musial threw out the first pitch in the fifth game of the 2006 World Series and delivered the ceremonial first pitch ball to President Barack Obama at the 2009 Major League Baseball All-Star Game. A "Stan the Man" day was held in his honor by the Cardinals on May 18, 2008. In 2010, another one of the Cardinals' greatest sluggers, Albert Pujols, whose nickname was "El Hombre", said he didn't want to be called "The Man", even in Spanish, because "There is one man that gets that respect, and that is Stan Musial." Also in 2010, the Cardinals launched a campaign to build support for awarding Musial the Presidential Medal of Freedom for his lifetime of achievement and service. The campaign realized its goal, and on February 15, 2011, Musial was awarded the Presidential Medal of Freedom by President Barack Obama who called him "an icon untarnished, a beloved pillar of the community, a gentleman you'd want your kids to emulate." On October 18, 2012, Musial made his final appearance at Busch Stadium, riding in a golf cart around the field before Game 4 of the National League Championship Series. Musial stopped at both dugouts and greeted San Francisco Giants manager Bruce Bochy and Cardinals manager Mike Matheny. The Cardinals would go on to win Game 4 by a score of 8–3, but lost the pennant to the Giants. MLB statistics Hitting Fielding Value Death On January 19, 2013, Musial died at age 92 of natural causes at his home in Ladue, Missouri, on the same day as fellow MLB Hall of Fame inductee Earl Weaver. Musial was surrounded by his family as he died peacefully. Cardinals owner Bill DeWitt, Jr. released the following statement: Upon hearing the news of his death, fans gathered and began an impromptu memorial at his statue outside Busch Stadium; the Cardinals issued a release saying the memorial would be left in place for some time. In a laudatory obituary, The New York Times quoted famed New York manager Leo Durocher: "There is only one way to pitch to Musial—under the plate." Missouri Governor Jay Nixon commented: "Stan Musial was a great American hero who—with the utmost humility—inspired us all to aim high and dream big. The world is emptier today without him, but far better to have known him. The legacy of 'baseball's perfect warrior' will endure and inspire generations to come." St. Louis Mayor Francis Slay tweeted: "Sad as we are, we are fortunate to have had Stan in STL for so long, and are also glad that Stan and Lil are together again." He ordered flags at half-staff in the city. "Major League Baseball has lost one of its true legends in Stan Musial, a Hall of Famer in every sense and a man who led a great American life", Commissioner Bud Selig said. "He was the heart and soul of the historic St. Louis Cardinals franchise for generations, and he served his country during World War II. A recipient of the Presidential Medal of Freedom in 2011, Stan's life embodies baseball's unparalleled history and why this game is the national pastime." Thousands of fans braved cold temperatures on January 24 for a public visitation at the Cathedral Basilica of Saint Louis, where Musial lay in state, dressed in his trademark cardinal-red blazer and with a harmonica in his lapel pocket, flanked by a Navy honor guard. A private funeral Mass was held on Saturday, January 26, 2013, at the New Cathedral in St. Louis, televised locally by KTVI and KPLR as well as Fox Sports Midwest on pay-television. New York's Cardinal Timothy Dolan, who in his first episcopal post served as an auxiliary bishop of the Archdiocese of Saint Louis, was the principal celebrant, and Knoxville's Bishop Richard F. Stika, Musial's former parish priest, was the homilist. Bob Costas gave the principal eulogy, calling him "the genuine hero who as the years and decades passed, and disillusionment came from other directions, never once let us down", and quoting fellow Cooperstown honoree Mickey Mantle, who once said that Musial "was a better player than me because he was a better man than me". Legacy As a reflection of his popularity, Musial has had infrastructure named after him. In May 2011, the Pennsylvania State Senate changed the name of the bridge that carries the C. Vance Deicas Memorial Highway (S.R. 1077) over the Monongahela River from Donora-Monessen Bridge to Stan Musial Bridge after Musial who was a native of the area. In October 2013, the St. Louis Fire Department started operating a fireboat named after Musial. In July 2013, the new Interstate 70 bridge over the Mississippi River between Illinois and Missouri at St. Louis received the official name of Stan Musial Veterans Memorial Bridge. In 2013, the Bob Feller Act of Valor Award honored Musial as one of 37 Baseball Hall of Fame members for his service in the United States Navy during World War II. See also 3,000 hit club DHL Hometown Heroes List of Major League Baseball annual doubles leaders List of Major League Baseball annual triples leaders List of Major League Baseball annual runs scored leaders List of Major League Baseball career at-bat leaders List of Major League Baseball career bases on balls leaders List of Major League Baseball career doubles leaders List of Major League Baseball career extra base hits leaders List of Major League Baseball career games played leaders List of Major League Baseball career on-base percentage leaders List of Major League Baseball career OPS leaders List of Major League Baseball career plate appearance leaders List of Major League Baseball career runs batted in leaders List of Major League Baseball career runs scored leaders List of Major League Baseball career singles leaders List of Major League Baseball career slugging percentage leaders List of Major League Baseball career triples leaders List of Major League Baseball players to hit for the cycle List of Major League Baseball players who spent their entire career with one franchise List of Major League Baseball runs records List of Major League Baseball single-season triples leaders List of Major League Baseball triples records List of members of the Baseball Hall of Fame List of Presidential Medal of Freedom recipients List of St. Louis Cardinals in the Baseball Hall of Fame List of St. Louis Cardinals owners and executives List of St. Louis Cardinals team records Lou Gehrig Memorial Award Major League Baseball titles leaders Sporting News Player of the Year Award Sports Illustrated Sportsperson of the Year St. Louis Cardinals all-time roster St. Louis Cardinals award winners and league leaders Notes References Bibliography External links Stan Musial at SABR (Baseball BioProject) Missing Man – Baseball Hall of Fame The National Baseball Hall of Fame Remembers Stan Musial Stan Musial: The Man – slideshow by Life magazine The Sporting News – interview with Stan Musial and Tony Gwynn, July 1997 1920 births 2013 deaths United States Navy personnel of World War II American people of Rusyn descent American people of Polish descent American sportsmen Baseball players from Pennsylvania Baseball players from St. Louis Daytona Beach Islanders players Neurological disease deaths in Missouri Deaths from Alzheimer's disease Major League Baseball first basemen Major League Baseball left fielders Major League Baseball players with retired numbers National Baseball Hall of Fame inductees National League All-Stars National League batting champions National League Most Valuable Player Award winners National League RBI champions People from Donora, Pennsylvania Presidential Medal of Freedom recipients Rochester Red Wings players St. Louis Cardinals executives St. Louis Cardinals players Sportspeople from St. Louis County, Missouri Springfield Cardinals players United States Navy sailors Williamson Colts players Williamson Red Birds players	false	[ "The Battle of Buchhof and Stein am Kocher was a seven-day battle fought between the 17th SS Panzergrenadier Division Götz von Berlichingen and 253rd Infantry Regiment, 63rd Infantry Division, First Battalion, 398th Infantry Regiment, 100th Infantry Division (United States) and the 753rd Tank Battalion. It was fought between the Neckar River and the Kocher River, and the three major points that had fighting in them were the areas around and the towns of Untergriesheim (Bad Friedrichshall), Buchhof, and Stein am Kocher (Neuenstadt am Kocher). These three towns were major battles between the Jagst and Kocher Rivers over the period of 4–12 April 1945. The Battle between the Jagst and Kocher Rivers was the northern section of the Battle of Heilbronn.\n\n\"On April 9th ... Company F, Company E, and Company G was down to 63, 50, and 83 men, respectively. Of the approximately 500 infantry men who were in the Battalion 7 days prior, only 196 did not sustain any physical injuries from this battle.\" 2nd Battalion of the 253rd Infantry Regiment sustain 66 killed in action and 238 wounded in action. The unit did not receive their Presidential Unit Citations until 2000. Also according to Malone's 2014 book on the battle 9 men of F Company 253rd Infantry Regiment have the wrong date of death.\n\nAwards\n 2nd Battalion of the 253rd Infantry Regiment 63rd Infantry Division medals for April 2–12:\none Medal of Honor Staff Sergeant John R. Crews of the 2 the division earned during the war.\nthree Distinguished Service Cross (United States) of the 9 that the division earned during the war.\nSilver Stars \nBronze Stars\none Presidential Unit Citation\n First Lieutenant James E. Robinson Jr., of Battery A, 861st Field Artillery Battalion, 63d Infantry Division, was posthumously awarded the Medal of Honor for his actions near Untergriesheim and Kressbach, in which he suffered mortal wounds, on April 6, 1945.\n Private First Class Mike Colalillo, of Company C, 398th Infantry, 100th Infantry Division, received the Medal of Honor for leading an attack against strong German positions near Untergriesheim, on April 7, 1945.\n\nReferences\n\nExternal links\n\nConflicts in 1945\n1945 in Germany\nBattles of World War II involving the United States\nBattles of World War II involving Germany\nApril 1945 events", "In gridiron football, spearing is a tackling technique in which a player makes initial contact with the crown of their helmet by using their body as a spear (head out, arms by their side). An offensive player or a defensive player can be penalized for spear tackling. Spearing from an offensive player will result in a 15-yard penalty, whereas spearing from a defensive player will result in an automatic first-down for the offense.\n\n1976 Rule Change \nIn the year 1976, the tackling technique known as spearing was banned across the board. Associations such as the National Football League (NFL), the National Collegiate Athletic Association, and the National Federation of State High School Associations (NFSHSA) made it illegal to perform any kind of spearing or head down contact to another player. This is mainly due to the severe injuries players would sustain upon using the spearing technique. Although this ban might have decreased the number of head injuries, players' use of spearing still persists.\n\nInjury Risks \nWithin the sport of gridiron football, the spearing technique was responsible for most of the catastrophic cervical spinal cord injuries and concussions, which is a result of axial loading. Recognition of such injuries resulted in rule changes in 1976, banning such tackles for high school and college football, after which incidence of these injuries dropped significantly. For example, incidence of quadriplegia decreased from 2.24 and 10.66 per 100,000 participants in high school and college football in 1976, to 1.30 and 2.66 per 100,000 participants in 1977.\n\nReferences\n\nBanned sports tactics\nAmerican football terminology\nCanadian football terminology" ]
[ "Bob Knight", "Playing career" ]	C_7959b6d370b74604866b9834c3132a6f_1	when did bob knight start playing	1	when did bob knight start playing	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	Knight began playing organized basketball at Orrville High School.	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	false	[ "Raymond Knight (February 12, 1899 – February 12, 1953) was an American actor, comedian and comedy writer, best known as a pioneer in satirical humor for network radio.\n\nLife and career\nBorn in Salem, Massachusetts, Knight studied law at Boston University and passed the Massachusetts bar, but he returned to school to study theater and writing at Harvard's 47 Workshop, followed by more studies at Yale. In 1927, he performed in the Broadway musical revue The Manhatters.\n\nKnight was writing continuity and commercials for NBC in 1929, when NBC programmer Bertha Brainard asked him to devise \"something cuckoo\" for the Blue Network. He responded with the zany The Cuckoo Hour, aka The KUKU Hour, as a showcase for his comedy. One of his characters on the series was Professor Ambrose J. Weems, who ran a radio station where he would give his views on current events and chat with his sidekick, Mrs. Pennyfeather.\n\nRadio historian Billy Jack Long described the unique aspects of Knight's satirical series:\nThis show was the forerunner to most of what America thought was funny afterwards. Ray, unlike most of the other radio personalities at the time, didn't have a background in vaudeville. He did all of his work within a short distance from home. Consequently, Ray had a good grasp on what people did when they were at home. Nothing was safe from Ray Knight's sarcasm. It wasn't meant to be rude or upsetting. But The KUKU Hour was so different from anything that was going on at the time. He would bounce back and forth between networks. The show started on NBC and was there for a few years before moving to Mutual. The KUKU Hour did not always have the same characters but it would have the same elements in each show. One of these was a segment called \"The Firing Squad\". In this, Ray would make comments about a person, a group or an idea, and then have everyone in the studio shoot at it with toy guns. Paper cap guns were provided for members of the studio audience, and even the technical people got involved in this!\n\nKnight replaced Aline and Peter Dixon when he took over the children's series, Wheatenaville Sketches, sponsored by Wheatena. On this program, Knight portrayed editor Billy Batchelor, running a small town newspaper founded by his uncle. Wheatenaville Sketches and The Cuckoo Hour were both important influences on comedian Bob Elliott, who attended Knight's show with his parents and later became friends with Knight.\n\nBroadway\nIn 1935 Knight contributed sketches to At Home Abroad, a revue with music by Arthur Schwartz and lyrics by Howard Dietz about a bored couple who flee America and go on a musical world tour. The original Broadway production opened at the Winter Garden Theatre on September 19, 1935, and ran for 198 performances. The cast included Beatrice Lillie, Ethel Waters, Eleanor Powell, Reginald Gardiner and Eddie Foy Jr. This was the first Broadway musical directed by Vincente Minnellii.\n\nKnight's play Run Sheep Run opened on Broadway in 1938 with a cast that included William Bendix and Dick Van Patten. The comedy closed after 12 days.\n\nKnight and daytime drama\nIn 1941, he created and scripted the radio serial, A House in the Country, about city couple Joan and Bruce attempting to adapt to country life. It aired on the Blue Network weekday mornings from October 6, 1941 to October 28, 1942. Knight took the role of a shopkeeper on the program.\n\nDuring World War II, Knight was the national production manager for ABC. He was a contributor to Woman's Day and other magazines. In the early 1950s, he wrote for Bob Elliott and Ray Goulding's Bob and Ray show. In 1953, he died on his birthday, February 12. In 1954, Bob Elliott married Knight's widow, Lee (they had three children together, including Chris Elliott), creating a comedic lineage that spans across three centuries and four generations, from Raymond Knight and Bob Elliott to Chris Elliott and his daughter, Abby Elliott.\n\nRaymond Knight's star on the Hollywood Walk of Fame is located at 6130 Hollywood Boulevard.\n\nSee also\nList of old-time radio people\n\nReferences\n\nListen to\nThe Raymond Knight Cuckoo Hour (February 14, 1937)\n\nExternal links\n\nZuckerman, Ed. \"A Professionally Funny Family\", The New York Times November 24, 2009\n\n1899 births\n1953 deaths\nAmerican radio personalities\nAmerican satirists\nBoston University School of Law alumni\nHarvard University alumni\nYale University alumni\n20th-century American dramatists and playwrights", "Robert, Rob or Bob Knight may refer to:\n\nPolitics\nRobert Knight, 1st Earl of Catherlough (1702–1772), Earl of Catherlough and MP for Great Grimsby, Milborne Port and Castle Rising\nRobert Knight (MP, born 1768) (1768–1855), Member of Parliament (MP) for Wootton Bassett, for Rye, and for Wallingford\nRobert G. Knight (born 1941), former mayor of Wichita, Kansas\nRob Knight (politician) (born 1967), Australian politician\nRobert Knight or Roy Knight (1891–1971), member of the Canadian House of Commons\n\nScience\nRobert T. Knight, American neurologist\nRobert P. Knight (1902–1966), American psychoanalyst\nBob Knight (psychologist) (born 1950), American psychologist\nRob Knight (biologist) (born 1976), American biologist\n\nSports\nBob Knight (born 1940), American college basketball coach\nBob Knight (basketball, born 1929) (1929–2008), American professional basketball player\nRobert Knight (cricketer, born 1858) (1858–1938), Welsh cricketer and barrister\nRobert Knight (cricketer, born 1957), Australian cricketer\nRobert Knight (cricketer, born 1879) (1879–1955), English cricketer\n\nOthers\nRobert Knight (industrialist) (1826–1912), Rhode Island manufacturer, founder of Fruit of the Loom\nRobert Knight (editor) (1825–1890), founding editor of The Times of India and The Statesman\nRobert Knight (trade unionist) (1833–1911), British leader of the Boilermakers trade union\nRobert Knight (musician) (1945–2017), American singer\nRobert Knight (journalist) (1949–2014), American radio journalist (see List of George Polk Award winners)\nRobert H. Knight (born 1951), conservative activist\nRobert K. Knight, college president\nRobert M. Knight, photographer\n\nSee also\nRobert Knights (born 1941), director" ]
[ "Bob Knight", "Playing career", "when did bob knight start playing", "Knight began playing organized basketball at Orrville High School." ]	C_7959b6d370b74604866b9834c3132a6f_1	where did he play in college	2	Where did Bob Knight play in college?	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor.	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	false	[ "Michael Patrick (born September 9, 1944) is a retired American sportscaster, known for his long tenure with ESPN.\n\nEarly career\nPatrick began his broadcasting career in the fall of 1966 at WVSC-Radio in Somerset, Pennsylvania. In 1970, he was named Sports Director at WJXT-TV in Jacksonville, Florida, where he provided play-by-play for Jacksonville Sharks' World Football League (WFL) telecasts (1973–74). He also called Jacksonville University basketball games on both radio and television.\n\nFrom 1975 until 1982, he worked for WJLA-TV as a sports reporter and weekend anchor. During this period, Patrick also did play-by-play for Maryland Terrapins football and basketball broadcasts as well as pre-season games for the Washington Football Team when WJLA had the TV rights to broadcast those games.\n\nESPN\n\nBeginning in 1982, Patrick worked for ESPN, where he is best known for his role as play-by-play announcer on the network's Sunday Night Football telecasts, with Paul Maguire and Joe Theismann from 1987–2005. Patrick was briefly replaced in 2004 by Pat Summerall, while he recovered from heart bypass surgery.\n\nHe has also called college football, men's and women's college basketball, and the College World Series for the network, as well as several NFL playoff games for ABC Sports while the network held the Monday Night Football television package.\n\nIn 2006, Patrick became the lead play-by-play announcer for ESPN on College Football Primetime, along with Todd Blackledge and field reporter Holly Rowe. In July 2009, ESPN announced that Patrick would begin calling Saturday afternoon ESPN/ABC college football for the 2009 college football season, which he did through 2017.\n\nIn addition, Patrick called the NCAA Women's Division I Basketball Championship from 1996 through 2009 and the College World Series in Omaha, Nebraska from 2003 until 2014.\n\nOn February 21, 2018, Patrick retired from ESPN after 35 years with the network.\n\nNon ESPN-related assignments\n\nPatrick also did play-by-play of Atlantic Coast Conference (ACC) football and basketball games for Jefferson-Pilot (now Lincoln Financial Sports) between 1984 and 1986.\n\nPatrick is the play-by-play man for MVP 06: NCAA Baseball as well as MVP 07: NCAA Baseball.\n\nFor 2015, 2016 and 2017, Patrick did play-by-play for the Cleveland Browns preseason football games.\n\nPatrick resides in northern Virginia with his wife, Janet.\n\nReferences\n\n1944 births\nLiving people\nAmerican television sports announcers\nCollege baseball announcers in the United States\nWomen's college basketball announcers in the United States\nCollege basketball announcers in the United States\nCollege football announcers\nGeorge Washington University alumni\nMaryland Terrapins men's basketball announcers\nMaryland Terrapins football announcers\nNational Football League announcers\nPeople from Clarksburg, West Virginia\nWorld Football League announcers\nJournalists from West Virginia\nTelevision anchors from Jacksonville, Florida", "Gary Nedrow Bender (born September 1, 1940) is a retired American sportscaster and 2008 inductee into the Kansas Sports Hall of Fame. He officially retired, April 13, 2011, from Fox Sports Arizona after 18 years calling the NBA's Phoenix Suns games.\n\nBiography\n\nEarly career\nBender, who was born in Norton, Kansas, and raised in Ulysses, Kansas, graduated from Ulysses High School in 1958. He then attended Wichita State University (then known as the University of Wichita), graduating with a journalism degree in 1962 and a master's degree from the University of Kansas in 1964. Bender then began his broadcasting career calling games at Hutchinson Community College in Hutchinson, KS and then went on to do the same at the University of Kansas' football and basketball programs in the 1960s. He also spent years as a broadcaster in Wisconsin and called all of the Wisconsin Athletic Association championship games, as well as Green Bay Packers radio and Milwaukee Brewers television in the early 1970s.\n\nCBS Sports (1975-1987)\nHe did play-by-play for the NFL on CBS from 1975 to 1981, and again in 1986 (among his partners were Johnny Unitas, Sonny Jurgensen, Hank Stram, and John Madden, all members of the Pro Football Hall of Fame) and the 1981 NBA Finals along with color commentators Rick Barry and Bill Russell, both members of the Basketball Hall of Fame.\n\nHe was CBS' first play-by-play announcer for the network's coverage of the NCAA Division I Men's Basketball Tournament, calling the Final Four alongside Billy Packer in 1982, 1983 and 1984. In 1982 and 1983, he was CBS' lead college football play-by-play man.\n\nABC Sports (1987-1992)\nOn October 26, 1987, Bender (along with Lynn Swann) called the Monday Night Football game between the Denver Broncos and the Minnesota Vikings. That game had been scheduled for October 25, but when the Minnesota Twins (who at the time, shared the Hubert H. Humphrey Metrodome with the Vikings) played Game 7 of the World Series that day, the football game was moved to Monday and shown to a regional audience.\n\nIn 1988, Bender did play-by-play for the American League Championship Series alongside Baseball Hall of Famers Joe Morgan and Reggie Jackson.\n\nHe also announced college football games for ABC Sports, where he formerly worked alongside Dick Vermeil.\n\nMajor League Baseball on ABC\nAs previously mentioned, Bender did play-by-play for the 1988 American League Championship Series between the Oakland Athletics and Boston Red Sox. Bender spent two years (1987-1988) as the #2 baseball play-by-play man for ABC behind Al Michaels. Bender worked the backup Monday Night Baseball broadcasts (with Tim McCarver in 1987 and Joe Morgan in 1988) as well as serving as a field reporter/post-game interviewer for ABC's 1987 World Series coverage.\n\nGary Bender would ultimately be taken off ABC's baseball team in favor of Gary Thorne in 1989.\n\nTNT Sports\nBender also called NFL games for TNT from 1992 to 1994, teaming with Pat Haden. On December 17, 2009, Bender filled in for Marv Albert, who was battling throat problems, to call the Phoenix Suns at Portland Trail Blazers game on TNT and called the game with Reggie Miller.\n\nFSN-Arizona and Versus\nAs previously mentioned, for 18 years, Bender was the television play-by-play announcer on Fox Sports Net (FSN-Arizona) for the National Basketball Association's Phoenix Suns; he worked alongside former Suns players Eddie Johnson and Scott Williams. In 2006, he was named as the play-by-play announcer for the Versus network's coverage of Mountain West Conference football, where he would be partnered with former NFL player Glenn Parker.\n\nPersonal\nBender is also co-author with Michael Johnson of the biography Call of the Game, in which he shares his life story, tips on how to become a better broadcaster, and his Christian testimony.\n\nBender did a series of Kendall Motor Oil commercials in mid-1980s.\n\nIn the first five months of 2001, Bender presided as host of the nationally syndicated Focus on the Family radio show after the resignation of previous host Mike Trout (1985–2000) because of an extramarital affair. Bender was replaced on a full-time basis by Focus vice president of broadcasting John Fuller.\n\nGary Bender is an alumnus of the Kansas Delta chapter of Phi Delta Theta at Wichita State where he received his bachelor's degree. He received his master's degree in radio and TV from the University of Kansas.\n\nHis son, Trey, is also a sportscaster and played Pop Warner Little Scholars.\n\nCareer timeline\n\n1969–1975: WKOW-TV Madison, Sports Director\n1970–1974: Green Bay Packers Play-by-play (radio)\n1975: Milwaukee Brewers Play-by-play (TV)\n1975–1981, 1986: NFL on CBS Play-by-play\n1977, 1979—1986: NBA on CBS Play-by-Play (Lead Play-by-Play from 1980—1981)\n1981–1987: College Basketball on CBS Play-by-Play (Lead Play-by-Play from 1981–1984)\n1982–1986: College Football on CBS Play-by-Play (Lead Play-by-play in 1982 and 1983)\n1987–1988: MLB on ABC #2 Play-by-Play\n1987: World Series Reporter\n1987–1992: College Football on ABC Play-by-Play\n1988–1991: Phoenix Cardinals Play-by-Play\n1992–1994: NFL on TNT Play-by-Play\n1992–2011: Phoenix Suns Play-by-Play on FSN Arizona\n1995–1998: St. Louis Rams Play-by-play (radio)\n1999–2000: Chicago Bears Play-by-play (radio)\n2003–2005: College Football on ESPN Play-by-Play\n2006: College Football on Versus Play-by-Play\n\nReferences\n\nExternal links\n\nHall-of-Fame sportscaster calls life as he sees it\n\n1940 births\nLiving people\nAmerican radio sports announcers\nAmerican television sports announcers\nArizona Cardinals announcers\nChicago Bears announcers\nCollege basketball announcers in the United States\nCollege football announcers\nGolf writers and broadcasters\nGreen Bay Packers announcers\nKansas Jayhawks basketball\nKansas Jayhawks football announcers\nMajor League Baseball broadcasters\nMilwaukee Brewers announcers\nNational Basketball Association broadcasters\nNational Football League announcers\nPeople from Norton, Kansas\nPeople from Ulysses, Kansas\nPhoenix Suns announcers\nSt. Louis Rams announcers\nTampa Bay Buccaneers announcers\nUnited States Football League announcers\nWisconsin Badgers men's basketball\nWisconsin Badgers football announcers\nMajor Indoor Soccer League (1978–1992) commentators" ]
[ "Bob Knight", "Playing career", "when did bob knight start playing", "Knight began playing organized basketball at Orrville High School.", "where did he play in college", "He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor." ]	C_7959b6d370b74604866b9834c3132a6f_1	did he go pro	3	Did Bob Knight go pro?	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	CANNOTANSWER	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	false	[ "Scotty Cannon is an innovator of drag racing in the Pro Modified class in the International Hot Rod Association (IHRA). He has won 28 International Hot Rod Association Pro Modified finals, competing in 45. Cannon has the most pro-modified victories as the Bristol Motor Speedway, with four.\n\nScotty grew up in an area where most of the people enjoyed oval track racing, but he did not find that type of racing pleasing. He has a unique hairstyle by showing up on race day with a mohawk. Cannon said, \"I have had a Mohawk on and off for years. It started years ago when I would go the beach with my friends and we would Mohawk our hair just to have fun. During the racing seasons, I would Mohawk it and it seemed I would wear it more and more. It kind of stuck on me. I guess you could call it my trademark.\"\n\nHe started racing when he was 16. \"I always had a natural love for drag racing, going straight and making the cars go as fast as they possibly could go,\" Cannon stated.\n\nCannon was one of the most popular drag racer in IHRA when pro-mod became a professional category in 1990. He won 6 championships in the pro-mod class. In 1998 cannon switched from IHRA to the National Hot Rod Association to a nitro-burning funny car. Then in 1999 Cannon was awarded rookie of the year in NHRA. Cannon returned to IHRA Pro Modified in 2004. He currently drives a Top Fuel Dragster in IHRA Competition sponsored by Torco Race Fuels. His son, Scott Cannon Jr. drives a 1968 Pontiac Firebird Pro Mod, and was the 2007 IHRA World Champion.\n\nNotes\n\nLiving people\nDragster drivers\nAmerican racing drivers\nYear of birth missing (living people)", "In linguistics, a pro-verb is a verb or partial phrase that substitutes for a contextually recognizable verb phrase (via a process known as grammatical gapping), obviating the need to repeat an antecedent verb phrase. A pro-verb is a type of anaphora that falls within the general group of word classes called pro-forms.\n\nIn English\nEnglish does not have dedicated pro-verbs; however, a bare infinitive can generally be implied rather than expressed, such that the verbs that take bare infinitives (including most of the auxiliary verbs) can be said to double as pro-verbs. Additionally, have and be can double as pro-verbs for perfect, progressive, and passive constructions (by eliding the participle). Finally, the dummy auxiliary verb do can be used when there is no other auxiliary verb, except if the main verb is be. The following are some examples of these kinds of pro-verb:\n\nWho can tell? —No-one can .\nWhy can't he do it? —He can , he just won't .\nI like pie, as does he .\nWhy did you break the jar? —He made me .\nCan you go to the park? No, I cannot [go to the park].\nNote that, when there are multiple auxiliary verbs, some of these may be elided as well. For example, in reply to \"Who's been leaving the milk out of the refrigerator?\", any of \"You've been doing it\", \"You have been\", or \"You have\" would have the same meaning.\n\nSince a to-infinitive is just the particle to plus a bare infinitive, and a bare infinitive can be elided, the particle to doubles as a pro-verb for a to-infinitive:Clean your room! —I don't want to .He refused to clean his room when I told him to .Finally, even in dialects where bare infinitives and participles can be elided, there does exist the pro-verb do so: \"He asked me to leave, so I did so\". This pro-verb, unlike the above-described pro-verbs, can be used in any grammatical context; however, in contexts where another pro-verb could be used, it can be overly formal. For example, in \"I want to get an 'A', but to do so, I need to get a perfect score on the next test,\" there is no other pro-verb that could be used; whereas in \"I want to get an 'A', but I can't do so,\" the do so'' could simply be elided, and doing so would make the sentence sound less formal.\n\nReferences\n\nParts of speech" ]
[ "Bob Knight", "Playing career", "when did bob knight start playing", "Knight began playing organized basketball at Orrville High School.", "where did he play in college", "He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor.", "did he go pro", "I don't know." ]	C_7959b6d370b74604866b9834c3132a6f_1	did he play any other sports	4	Besides basketball, did Bob Knight play any other sports?	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	it has been claimed that Knight also lettered in football and baseball;	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	true	[ "The 1919–20 Michigan College of Mines Huskies men's ice hockey season was the inaugural season of play for the program.\n\nSeason\nAfter World War I college hockey began to expand west from its heartland in New England. Michigan College of Mines was one of two schools in the midwest to begin play in the 1919–20 season (the other being Notre Dame). Due to the lack of collegiate opponents, MCM didn't play any other colleges during their first season, nor did they play any home games as the school did not own or lease any of the local rinks.\n\nRoster\n\nStandings\n\nSchedule and Results\n\n\|-\n!colspan=12 style=\";\" \| Regular Season\n\nReferences\n\nMichigan Tech Huskies men's ice hockey seasons\nMichigan College of Mines Huskies \nMichigan College of Mines Huskies \n1920 in sports in Michigan", "Dave Benz is an American broadcaster who is the voice of the Minnesota Timberwolves.\n\nBroadcasting career\n\nComcast SportsNet\nBenz hosted several programs for the San Francisco 49ers, such as 49ers Postgame Live, 49ers Central, and 49ers Press Conference. He hosted pregame/postgame shows for the Golden State Warriors, Oakland Athletics, and the San Jose Sharks and was an anchor for SportsNet Central. He also did play-by-play for college basketball, reported for Sportsnet Reporters, and was the voice of the San Jose SaberCats of the Arena Football League.\n\nKNBR-AM\nHe has also worked for KNBR-AM as a fill-in host for The Gary Radnich Show, The Damon Bruce Show, and Sportsphone 680.\n\nWTTG-TV\nBenz was also employed by WTTG-TV as a sports anchor/reporter and hosted pregame/halftime/postgame shows for the Washington Redskins.\n\nThe Mountain\nBenz also called college basketball games for the MountainWest Sports Network.\n\nKLZ-560 AM\nDave also was a talk show host for KLZ-560 AM and was the host of a four-hour talk show host, Sportstown.\n\nFox Sports/Fox Sports Net/Bally Sports\nWhile working for the Fox Sports family, hosted several shows for Fox Sports Rocky Mountain such as AFL Weekly, Broncos Preview, Rockies All Access, Rockies Roundup, Crush Weekly, Insider Edition, and The Buffalo Stampede. He did play-by-play for Colorado Rockies spring training, hosted pregame/postgame shows for various sports such as college football and basketball, play-by-play commentator for the Colorado Crush, Colorado State Tigers men's basketball, and Colorado Buffalos men's and women's basketball and Denver Pioneers men's basketball, sideline reporting for the Colorado Crush and the Colorado Buffalos; football and men's basketball. He also did some sideline reporting for the Fox NFL Sunday. He was the host of Mavericks Live, a pregame/postgame show host for the Dallas Mavericks and performed the same role for the San Antonio Spurs. He also hosted Florida Sports Report and Southwest Sports Report.\n\nOther work\nHe worked as sports anchor and sports reporter at WTTV-TV and WXIN-TV as well as a sports director for WUTR-TV. He was the pregame/postgame host for the Colorado Rockies Radio Network and hosted shows Softball 360, SleadHead 24/7, and Autoweek. He was also the pregame/halftime/postgame host for the Green Bay Packers Radio Network. His other play-by-play experiences came from the Green Bay Bombers and the Wisconsin Blast. The Minnesota Timberwolves hired Benz to replace Tom Hanneman as the voice of the Timberwolves.\n\nReferences\n http://www.foxsportsnorth.com/10/1/12/Benz-I-love-sports-I-live-sport/landing_timberwolves.html?blockID=79\n http://minnesota.cbslocal.com/2012/10/1/dave-benz-names-wolves-tv-play-by-play-announcer\n https://archive.today/20130215190621/http://www.csnbayarea.com/sportsnetBayArea/search/v/64581283/so-long-to-csn-anchor-dave-benz.htm\n\nTelevision anchors from Washington, D.C.\nTelevision anchors from Indianapolis\nColorado Rockies announcers\nGolden State Warriors announcers\nSan Jose Sharks announcers\nOakland Athletics announcers\nGreen Bay Packers announcers\nLiving people\nAmerican television sports announcers\nAmerican television sports anchors\nAmerican radio sports announcers\nAmerican talk radio hosts\nNational Basketball Association broadcasters\nMajor League Baseball broadcasters\nArena football announcers\nWomen's college basketball announcers in the United States\nNational Hockey League broadcasters\nNational Football League announcers\nCollege basketball announcers in the United States\nMinnesota Timberwolves announcers\nCollege football announcers\nOlympic Games broadcasters\nYear of birth missing (living people)" ]
[ "Bob Knight", "Playing career", "when did bob knight start playing", "Knight began playing organized basketball at Orrville High School.", "where did he play in college", "He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor.", "did he go pro", "I don't know.", "did he play any other sports", "it has been claimed that Knight also lettered in football and baseball;" ]	C_7959b6d370b74604866b9834c3132a6f_1	was knight a star at ohio state	5	Was Bob Knight a star at Ohio state?	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	Due in part to the star power of those Ohio State teams, Knight usually received scant playing time,	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	true	[ "Walter Downey Guilbert (February 11, 1844 – February 15, 1911) was a Republican politician in the U.S. State of Ohio who was Ohio State Auditor 1896–1909.\n\nGuilbert was born at Guernsey County, Ohio. He studied in local schools, and at an academy in Wenona, Illinois. After leaving school, he remained in the Midwest until 1869. He then returned to Ohio and manufactured staves and engaged in salt making at South Olive, Noble County until 1881.\n\nIn 1881, Guilbert was elected auditor of Noble County, as a Republican, and re-elected in 1884. In 1888 he was appointed chief clerk of the office of Auditor of State. In 1895 he was elected as Auditor of the State of Ohio, and continued in that office until 1909. He was an activist in his party, and a delegate to the Republican National Convention in 1888.\n\nGuilbert married Mary L. Jordan of Noble County on February 2, 1868, and had three children. He was a Freemason, a Knight Templar, a member of the Mystic Shrine, the Independent Order of Odd Fellows, the K. of P., and the I.O.R.M. He died February 15, 1911, and is interred at Green Lawn Cemetery, Columbus, Ohio.\n\nNotes\n\nReferences\n\nExternal links\n \n\nOhio lawyers\nOhio Republicans\nPeople from Noble County, Ohio\nPeople from Guernsey County, Ohio\n1844 births\nState Auditors of Ohio\n1911 deaths\nBurials at Green Lawn Cemetery (Columbus, Ohio)\nDeaths from nephritis\n19th-century American politicians\n19th-century American lawyers", "Melvyn P. \"Mel\" Nowell (born December 27, 1939) is an American former basketball player.\n\nBorn in Columbus, Ohio, Nowell played for the Ohio State Buckeyes basketball team that won the 1960 NCAA championship. He played with three Hall of Famers and Hall of Fame Coach Fred Taylor. He later played in the National Basketball Association (NBA) for the Chicago Zephyrs and in the American Basketball Association (ABA).\n\nA 6'1 guard, Nowell was a high school star at Columbus East 1957–1958. His outside shooting and one-on-one skills were enough to rate him the #2 player in Ohio after Jerry Lucas. Fielding numerous scholarship offers, Nowell decided to follow Lucas to Ohio State in a historic recruiting class that later also included John Havlicek and Bobby Knight. Starting with fellow sophomores Lucas and Havlicek, Nowell's shooting was a key element in Ohio State's run to the 1960 NCAA title. He was named to the 1960 All-Tournament Team.\n\nOhio State's 1960–61 team went undefeated until the NCAA Final. Ohio State's 1961–62 also reached the NCAA Final.\n\nNowell did participate in the 1960 US Olympic Trials but was never seriously considered for a spot on the team. Only three blacks were named to that team, and more attention was paid to Nowell's white Ohio State teammates, a factor he considered in his remaining basketball career.\n\nNowell's shooting ability was such that he could have been a big scorer at another school, a fact that could have led to a bigger pro career. Instead, he played with or for four future Hall of Famers, went to three straight NCAA Finals, winning one in 1960. All three years, the Ohio State Buckeyes were undefeated at home at St. John Arena.\n\nExternal links\nNBA and ABA statistics\n\n1939 births\nLiving people\nAmerican men's basketball players\nBasketball players at the 1960 NCAA University Division Final Four\nBasketball players at the 1961 NCAA University Division Final Four\nBasketball players at the 1962 NCAA University Division Final Four\nBasketball players from Columbus, Ohio\nChicago Zephyrs draft picks\nChicago Zephyrs players\nNew Jersey Americans players\nOhio State Buckeyes men's basketball players\nPoint guards\nShooting guards\nWilkes-Barre Barons players" ]
[ "Bob Knight", "Playing career", "when did bob knight start playing", "Knight began playing organized basketball at Orrville High School.", "where did he play in college", "He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor.", "did he go pro", "I don't know.", "did he play any other sports", "it has been claimed that Knight also lettered in football and baseball;", "was knight a star at ohio state", "Due in part to the star power of those Ohio State teams, Knight usually received scant playing time," ]	C_7959b6d370b74604866b9834c3132a6f_1	did he receive any awards	6	Did Bob Knight receive any awards?	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	lettering in basketball at Ohio State,	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	true	[ "Below is a list of awards received by Twins since they were formed in 2001 as a cantopop girl group. They average to receive about 2-3 awards in each Hong Kong music awards. Their major accomplishment is in 2007 when they received the Asia Pacific Most Popular Female Artist Award from Jade Solid Gold Top 10 Awards.\n\nBecause of the Edison Chen photo scandal in 2008, Gillian took a short leave from the group. And thus the group did not record any songs or receive any awards between March 2008 to 2009.\n\nCommercial Radio Hong Kong Ultimate Song Chart Awards\nThe Ultimate Song Chart Awards Presentation (叱咤樂壇流行榜頒獎典禮) is a cantopop award ceremony from one of the famous channel in Commercial Radio Hong Kong known as Ultimate 903 (FM 90.3). Unlike other cantopop award ceremonies, this one is judged based on the popularity of the song/artist on the actual radio show.\n\nGlobal Chinese Music Awards\n\nIFPI Hong Kong Sales Awards\nIFPI Awards is given to artists base on the sales in Hong Kong at the end of the year.\n\nJade Solid Gold Top 10 Awards\nThe Jade Solid Gold Songs Awards Ceremony(十大勁歌金曲頒獎典禮) is held annually in Hong Kong since 1984. The awards are based on Jade Solid Gold show on TVB.\n\nMetro Radio Mandarin Music Awards\n\nMetro Showbiz Hit Awards\nThe Metro Showbiz Hit Awards (新城勁爆頒獎禮) is held in Hong Kong annually by Metro Showbiz radio station. It focus mostly in cantopop music.\n\nRTHK Top 10 Gold Songs Awards\nThe RTHK Top 10 Gold Songs Awards Ceremony(十大中文金曲頒獎音樂會) is held annually in Hong Kong since 1978. The awards are determined by Radio and Television Hong Kong based on the work of all Asian artists (mostly cantopop) for the previous year.\n\nSprite Music Awards\nThe Sprite Music Awards Ceremony is an annual event given by Sprite China for work artists performed in previous years; awards received on 2008 are actually for the work and accomplishment for 2007.\n\nReferences\n\nTwins\nCantopop", "The Drama-Logue Award was an American theater award established in 1977, given by the publishers of Drama-Logue newspaper, a weekly west-coast theater trade publication. Winners were selected by the publication's theater critics, and would receive a certificate at an annual awards ceremony hosted by Drama-Logue founder Bill Bordy. The awards did not require any voting or agreement among critics; each critic could select as many award winners as they wished. As a result, many awards were issued each year. In some years, the number of winners was larger than the seating capacity of the venue where the ceremony was conducted.\n\nThe award categories included Production, Direction, Musical Direction, Choreography, Writing, Performance, Ensemble Performance, Scenic Design, Sound Design, Lighting Design, Costume Design and Hair & Makeup Design.\n\nAcquisition \nIn May 1998, Backstage West bought the Drama-Logue publication, and the two publications merged. The Drama-Logue Awards were subsequently retired and replaced by the Back Stage West Garland Awards.\n\nReferences\n\nAmerican theater awards\nAwards established in 1977\nAwards disestablished in 1998" ]
[ "Bob Knight", "Playing career", "when did bob knight start playing", "Knight began playing organized basketball at Orrville High School.", "where did he play in college", "He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor.", "did he go pro", "I don't know.", "did he play any other sports", "it has been claimed that Knight also lettered in football and baseball;", "was knight a star at ohio state", "Due in part to the star power of those Ohio State teams, Knight usually received scant playing time,", "did he receive any awards", "lettering in basketball at Ohio State," ]	C_7959b6d370b74604866b9834c3132a6f_1	any other awards	7	Did Bob Knight receive any other awards besides Lettering in Basketball at Ohio State?	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	lettered in football and baseball;	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	true	[ "Oxford-Weidenfeld Translation Prize is an annual literary prize for any book-length translation into English from any other living European language. The first prize was awarded in 1999. The prize is funded by and named in honour of Lord Weidenfeld and by New College, The Queen's College and St Anne's College, Oxford.\n\nWinners\nSource:\n\nNotes\n\nExternal links\nOxford-Weidenfeld Translation Prize\n\nTranslation awards\nAwards established in 1999\n1999 establishments in the United Kingdom\nEnglish literary awards\nAwards and prizes of the University of Oxford", "The 9th annual Genie Awards were held March 22, 1988, and honoured Canadian films released in 1987. The ceremony was held at the Metro Toronto Convention Centre and was co-hosted by Megan Follows and Gordon Pinsent.\n\nThe awards were dominated by Night Zoo (Un zoo la nuit), which won a still unmatched thirteen awards. The film garnered 14 nominations overall; the film's only nomination that failed to translate into a win was Gilles Maheu's nod for Best Actor, as he lost to the film's other Best Actor nominee, Roger Lebel. The female acting awards were won by Sheila McCarthy and Paule Baillargeon for the film I've Heard the Mermaids Singing, the only other narrative feature film to win any Genie awards that year; only the Documentary and Short Film awards, in which neither Night Zoo nor I've Heard the Mermaids Singing were even eligible for consideration, were won by any other film.\n\nWinners and nominees\n\nReferences\n\n09\nGenie\nGenie\nGenie" ]
[ "Bob Knight", "Playing career", "when did bob knight start playing", "Knight began playing organized basketball at Orrville High School.", "where did he play in college", "He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor.", "did he go pro", "I don't know.", "did he play any other sports", "it has been claimed that Knight also lettered in football and baseball;", "was knight a star at ohio state", "Due in part to the star power of those Ohio State teams, Knight usually received scant playing time,", "did he receive any awards", "lettering in basketball at Ohio State,", "any other awards", "lettered in football and baseball;" ]	C_7959b6d370b74604866b9834c3132a6f_1	what did he do after basketball	8	What did Bob Knight do after basketball?	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	CANNOTANSWER	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	false	[ "Wait Till Next Year is a 1988 memoir by sportswriter Mike Lupica and screenwriter William Goldman.\n\nThe book is similar to Goldman's earlier effort The Season: A Candid Look at Broadway in that it looks at a year of New York sports teams with Goldman getting press passes to see a huge number of games. The main focus is looking at The Mets following up their championship season while taking in the local Basketball and American Football teams too in a wildly frenetic overview of the coaches, stars, owners, trades and controversies that the season provided.\n\nLupica and Goldman had been friends for thirty years when Lupica suggested to Goldman they collaborate on a book together, from his point of view and Goldman's point of view. Goldman:\nI wanted to be a sports columnist when I was a kid and then I learned more about what they did for a living and I decided I didn't want to do it. You have to go see all that shit. It's fun to go to a ball game occasionally. What was great, the year I did the book with Lupica, was I had press passes so I could go sit with all those people whose columns I read and watch a baseball game or a football game or a basketball game.\nGoldman said they would do alternate chapters. \"I would eventually show him what I had and he would show me what he had but for the most part, we kept away from each other. We'd talk all the time.\"\n\nGoldman said the book \"was a total flop - it didn't work commercially - but it was a wonderful time for me.\"\n\nReferences\n\nEgan, Sean, William Goldman: The Reluctant Storyteller, Bear Manor Media 2014\n\nAmerican memoirs\n1988 non-fiction books\nBooks by William Goldman", "Maoi Recampo Roca (December 12, 1974 – January 14, 2022) was a Filipino basketball player and actor.\n\nEarly life\nMaoi Recampo Roca was born on December 12, 1974. He was introduced to basketball by his athlete father, Bobby Roca. A natural athlete himself, Maoi got obsessed with the sport as a youngster and quickly became well-known as he joined every local street league in his hometown in San Pedro, Laguna. His siblings recalled how Maoi, when told to run errands by his mother in the morning, would often forget what he was told to do and just starts playing basketball until almost noon. \n\nAs a teenager, he made a name for himself as San Pedro's best varsity basketball player. He was ranked as one of the top High School recruits from his class and various College basketball scouts from Manila were quick to notice the potential of the budding star way before graduating. After high school, Maoi decided to fulfill his childhood dream of playing for the De La Salle Green Archers.\n\nBasketball career\nRoca played for the De La Salle Green Archers at the University Athletic Association of the Philippines (UAAP) from 1994 to 1998. He helped the Archers clinch the Season 61 championship and was named part of the UAAP Mythical Team.\n\nAfter graduating from college, Roca suited up for the Batangas Blades of the Metropolitan Basketball Association from 1999 to 2000 and later became part of the Tanduay Rhum Masters of the Philippine Basketball Association after he was selected in the 2001 draft although he did not play any game for the team.\n\nActing career\nAs an actor, Roca made appearances in Tropang Trumpo of ABC5 with Carmina Villarroel and Gelli de Belen. He was also a co-host in IBC's Ano Ba’ng Hanap Mo? along with Mickey Ferriols and Hyubs.\n\nLater life and death\nRoca has been living in San Pedro, Laguna during his last years. He died on January 14, 2022, due to complications arising from being diabetic.\n\nReferences\n\n1974 births\n2022 deaths\nFilipino male television actors\nFilipino men's basketball players\nPeople from San Pedro, Laguna\nDeaths from diabetes" ]
[ "Bob Knight", "Playing career", "when did bob knight start playing", "Knight began playing organized basketball at Orrville High School.", "where did he play in college", "He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor.", "did he go pro", "I don't know.", "did he play any other sports", "it has been claimed that Knight also lettered in football and baseball;", "was knight a star at ohio state", "Due in part to the star power of those Ohio State teams, Knight usually received scant playing time,", "did he receive any awards", "lettering in basketball at Ohio State,", "any other awards", "lettered in football and baseball;", "what did he do after basketball", "I don't know." ]	C_7959b6d370b74604866b9834c3132a6f_1	did he graduate from ohio state?	9	Did Bob Knight graduate from Ohio State?	Bob Knight	Knight was born in Massillon, Ohio, and grew up in Orrville, Ohio. Knight began playing organized basketball at Orrville High School. He continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61-59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. CANNOTANSWER	Knight graduated with a degree in history and government in 1962.	Robert Montgomery Knight (born October 25, 1940) is an American former basketball coach. Nicknamed "the General", Knight won 902 NCAA Division I men's college basketball games, a record at the time of his retirement, and currently fifth all-time, behind his former player and assistant coach Mike Krzyzewski of Duke, Roy Williams, Bob Huggins and Jim Boeheim of Syracuse, of which Krzyzewski, Huggins, and Boeheim are still active. Knight is best known as the head coach of the Indiana Hoosiers from 1971 to 2000. He also coached at Texas Tech (2001–2008) and at Army (1965–1971). While at Indiana, Knight led his teams to three NCAA championships, one National Invitation Tournament (NIT) championship, and 11 Big Ten Conference championships. His 1975–76 team went undefeated during the regular season and won the 1976 NCAA tournament. Knight received National Coach of the Year honors four times and Big Ten Coach of the Year honors eight times. In 1984, he coached the USA men's Olympic team to a gold medal, becoming one of only three basketball coaches to win an NCAA title, NIT title, and an Olympic gold medal. Knight was one of college basketball's most successful and innovative coaches, having popularized the motion offense. He has also been praised for running good programs (none of his teams was ever sanctioned by the NCAA for recruiting violations), and nearly all of his players graduated. Knight sparked controversy with his outspoken nature and demonstrative behavior. He once famously threw a chair across the court during a game, which was rewarded with an ejection. Knight was once arrested in Puerto Rico following a physical confrontation with a police officer. Knight regularly displayed a volatile nature and was sometimes accused of verbal conflicts with members of the press. He was also recorded on videotape appearing to have possibly grabbed one of his players by the neck. Knight remains "the object of near fanatical devotion" from many of his former players and Indiana fans. Nevertheless, Knight was accused of choking a player during practice. Following the incident, a "zero tolerance" policy was instituted specifically for coach Knight. After a subsequent run-in with a student, university president Myles Brand fired Knight in the fall of 2000. In 2008, Knight joined ESPN as a men's college basketball studio analyst during Championship Week and for coverage of the NCAA Tournament. He continued covering college basketball for ESPN through the 2014–15 season. Early life Knight was born in 1940 Massillon, Ohio, and grew up in Orrville, Ohio. He began playing organized basketball at Orrville High School. College career Knight continued at Ohio State in 1958 when he played for Basketball Hall of Fame coach Fred Taylor. Despite being a star player in high school, he played a reserve role as a forward on the 1960 Ohio State Buckeyes team that won the NCAA Championship and featured future Hall of Fame players John Havlicek and Jerry Lucas. The Buckeyes lost to the Cincinnati Bearcats in each of the next two NCAA Championship games, of which Knight was also a part. Due in part to the star power of those Ohio State teams, Knight usually received scant playing time, but that did not prevent him from making an impact. In the 1961 NCAA Championship game, Knight came off the bench with 1:41 on the clock and Cincinnati leading Ohio State, 61–59. In the words of then-Ohio State assistant coach Frank Truitt, Knight got the ball in the left front court and faked a drive into the middle. Then [he] crossed over like he worked on it all his life and drove right in and laid it up. That tied the game for us, and Knight ran clear across the floor like a 100-yard dash sprinter and ran right at me and said, 'See there, coach, I should have been in that game a long time ago!' To which Truitt replied, "Sit down, you hot dog. You're lucky you're even on the floor." In addition to lettering in basketball at Ohio State, it has been claimed that Knight also lettered in football and baseball; however, the official list of Ohio State football letter earners does not include Knight. Knight graduated with a degree in history and government in 1962. Coaching career Army After completion of graduation from Ohio State University in 1962, he coached junior varsity basketball at Cuyahoga Falls High School in Ohio for one year. Knight then enlisted in the United States Army and accepted an assistant coaching position with the Army Black Knights in 1963, where, two years later, he was named head coach at the relatively young age of 24. In six seasons at West Point, Knight won 102 games, with his first as a head coach coming against Worcester Polytechnic Institute. One of his players was Mike Krzyzewski, who later served as his assistant before becoming a Hall of Fame head coach at Duke. Mike Silliman was another of Knight's players at Army, and Knight was quoted as saying, "Mike Silliman is the best player I have ever coached." During his tenure at Army, Knight gained a reputation for having an explosive temper. For example, after Army's 66–60 loss to BYU and Hall of Fame coach Stan Watts in the semifinals of the 1966 NIT, Knight completely lost control, kicking lockers and verbally blasting the officials. Embarrassed, he later went to Watts' hotel room and apologized. Watts forgave him, and is quoted as saying, "I want you to know that you're going to be one of the bright young coaches in the country, and it's just a matter of time before you win a national championship." Knight was one of seven candidates vying to fill the Wisconsin men's basketball head coaching vacancy after John Erickson resigned to become the Milwaukee Bucks' first-ever general manager on April 3, 1968. He was offered the position but requested more time to think it over. By the time he returned to West Point, news that he was to become the Badgers' new coach was prematurely leaked to the local media. After consulting with Bo Schembechler who the previous year also had a negative experience as a Wisconsin football coaching candidate, Knight withdrew his candidacy and continued to coach at Army for three more seasons. Erickson's assistant coach John Powless was promoted instead. Indiana In 1971, Indiana University hired Knight as head coach. During his 29 years at the school, the Hoosiers won 662 games, including 22 seasons of 20 or more wins, while losing 239, a .735 winning percentage. In 24 NCAA tournament appearances at Indiana, Hoosier teams under Knight won 42 of 63 games (.667), winning titles in 1976, 1981, and 1987, while losing in the semi-finals in 1973 and 1992. 1970s In 1972–73, Knight's second year as coach, Indiana won the Big Ten championship and reached the Final Four, but lost to UCLA, who was on its way to its seventh consecutive national title. The following season, 1973–74, Indiana once again captured a Big Ten title. In the two following seasons, 1974–75 and 1975–76, the Hoosiers were undefeated in the regular season and won 37 consecutive Big Ten games, including two more Big Ten championships. The 1974–75 Hoosiers swept the entire Big Ten by an average of 22.8 points per game. However, in an 83–82 win against Purdue they lost consensus All-American forward Scott May to a broken left arm. With May's injury keeping him to 7 minutes of play, the No. 1 Hoosiers lost to Kentucky 92–90 in the Mideast Regional. The Hoosiers were so dominant that four starters – Scott May, Steve Green, Kent Benson and Quinn Buckner – would make the five-man All-Big Ten team. The following season, 1975–76, the Hoosiers went the entire season and 1976 NCAA tournament without a single loss, beating Michigan 86–68 in the title game. Immediately after the game, Knight lamented that "it should have been two." The 1976 Hoosiers remain the last undefeated NCAA Division I men's basketball team. Through these two seasons, Knight's teams were undefeated in the regular season, including a perfect 37–0 record in Big Ten games on their way to their third and fourth conference titles in a row. Behind the play of Mike Woodson, Indiana won the 1979 NIT championship. 1980s The 1979–80 Hoosiers, led by Mike Woodson and Isiah Thomas, won the Big Ten championship and advanced to the 1980 Sweet Sixteen. The following season, in 1980–81, Thomas and the Hoosiers once again won a conference title and won the 1981 NCAA tournament, Knight's second national title. In 1982–1983, with the strong play of Uwe Blab and All-Americans Ted Kitchel and Randy Wittman, the No. 1 ranked Hoosiers were favorites to win another national championship. However, with an injury to All-American Ted Kitchel mid-season, the Hoosiers' prospects were grim. Knight asked for fan support to rally around the team and, when the team ultimately won the Big Ten title, he ordered that a banner be hung for the team in Assembly Hall as a tribute to the fans, who he credited with inspiring the team to win its final three home games. Nevertheless, in the tournament Kitchel's absence was felt and the team lost to Kentucky in the 1983 Sweet Sixteen. The 1985–86 Hoosiers were profiled in a best-selling book A Season on the Brink. To write it Knight granted author John Feinstein almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life. The following season, in 1986–87, the Hoosiers were led by All-American Steve Alford and captured a share of the Big Ten title. The team won Knight's third national championship (the school's fifth) against Syracuse in the 1987 NCAA tournament with a game-winning jump shot by Keith Smart with five seconds of play remaining in the championship game. In the 1988–1989 season the Hoosiers were led by All-American Jay Edwards and won a Big Ten championship. 1990s From 1990–91 through 1992–93, the Hoosiers posted 87 victories, the most by any Big Ten team in a three-year span, breaking the mark of 86 set by Knight's Indiana teams of 1974–76. Teams from these three seasons spent all but two of the 53 poll weeks in the top 10, and 38 of them in the top 5. They captured two Big Ten crowns in 1990–91 and 1992–93, and during the 1991–92 season reached the Final Four. During the 1992–93 season, the 31–4 Hoosiers finished the season at the top of the AP Poll, but were defeated by Kansas in the Elite Eight. Teams from this era included Greg Graham, Pat Knight, All-Americans Damon Bailey and Alan Henderson Brian Evans, and National Player of the Year Calbert Cheaney. Throughout the mid and late 1990s Knight continued to experience success with continual NCAA tournament appearances and a minimum of 19 wins each season. However, 1993 would be Knight's last conference championship and 1994 would be his last trip to the Sweet Sixteen. Dismissal from Indiana On March 14, 2000 (just before Indiana was to begin play in the NCAA tournament), the CNN Sports Illustrated network ran a piece on Robert Abbott's investigation of Knight in which former player Neil Reed claimed he had been choked by Knight during a practice in 1997. Knight denied the claims in the story. However, less than a month later, the network aired a tape of an Indiana practice from 1997 that appeared to show Knight placing his hand on the neck of Reed. In response, Indiana University president Myles Brand announced that he had adopted a "zero tolerance" policy with regard to Knight's behavior. Later in the year, in September 2000, Indiana freshman Kent Harvey (not a basketball player) reportedly said, "Hey, Knight, what's up?" to Knight. According to Harvey, Knight then grabbed him by the arm and lectured him for not showing him respect, insisting that Harvey address him as either "Mr. Knight" or "Coach Knight" instead of simply "Knight." Brand stated that this incident was only one of numerous complaints that occurred after the zero-tolerance policy had been put into place. Brand asked Knight to resign on September 10, and when Knight refused, Brand relieved him of his coaching duties effective immediately. Knight's dismissal was met with outrage from students. That night, thousands of Indiana students marched from Indiana University's Assembly Hall to Brand's home, burning Brand in effigy. Harvey was supported by some and vilified by many who claim he had intentionally set up Knight. Kent Harvey's stepfather, Mark Shaw, was a former Bloomington-area radio talk show host and Knight critic. On September 13, Knight said goodbye to a crowd of some 6,000 supporters in Dunn Meadow at Indiana University. He asked that they not hold a grudge against Harvey and that they continue to support the basketball team. Knight's firing made national headlines, including the cover of Sports Illustrated and around-the-clock coverage on ESPN. In a March 2017 interview on The Dan Patrick Show, Knight stated that he had no interest in ever returning to Indiana. When host Dan Patrick commented that most of the administration that had fired Knight seventeen years earlier were no longer there, Knight said, "I hope they’re all dead." Texas Tech Following his dismissal from Indiana, Knight took a season off and was on the lookout for coaching vacancies. He accepted the head coaching position at Texas Tech, although his hiring was opposed by a faculty group that was led by Walter Schaller. When he was introduced at the press conference, Knight quipped, "This is without question the most comfortable red sweater I've had on in six years." Knight quickly improved the program, which had not been to an NCAA tournament since 1996. He led the team to postseason appearances in each of his first four years at the school (three NCAA Championship tournaments and one NIT). After a rough 2006 season, the team improved in 2007, finishing 21–13 and again making it to the NCAA tournament, where it lost to Boston College in the first round. The best performance by the Red Raiders under Knight came in 2005 when they advanced as far as the Sweet Sixteen. In both 2006 and 2007 under Knight, Texas Tech defeated two Top 10-ranked teams in consecutive weeks. During Knight's first six years at Texas Tech, the Red Raiders won 126 games, an average of 21 wins per season. Retirement On February 4, 2008, Knight announced his retirement. His son Pat Knight, the head coach designate since 2005, was immediately named as his successor at Texas Tech. The younger Knight had said that after many years of coaching, his father was exhausted and ready to retire. Just after achieving his 900th win, Knight handed the job over to Pat in the mid-season in part to allow him to get acquainted with coaching the team earlier, instead of having him wait until October, the start of the next season. Knight continued to live in Lubbock after he retired. International coaching In 1979, Knight guided the United States Pan American team to a gold medal in Puerto Rico. In 1984 Knight led the U.S. national team to a gold medal in the Olympic Games as coach of the 1984 basketball team (coaches do not receive medals in the Olympics). Players on the team included Michael Jordan and Knight's Indiana player and protégé Steve Alford. Life after coaching In 2008, ESPN hired Knight as a studio analyst and occasional color commentator. In November 2012, he called an Indiana men's basketball game for the first time, something he had previously refused to do. Former Indiana men's basketball coach Tom Crean reached out to Knight in an attempt to get him to visit the school again. On April 2, 2015, ESPN announced that it would not renew its contract with Knight. On February 27, 2019, Don Fischer, an IU radio announcer since 1974, said during an interview that Knight was in ill health. He continued by saying Knight's health “has declined” but did not offer any specifics. On April 4, 2019, Knight made his first public appearance since Fischer made his comments. He appeared with longtime friend and journalist Bob Hammel and spoke about different aspects of his career. During the presentation, Knight seemed to struggle with his memory: he re-introduced his wife to the audience after doing so only 10 minutes earlier, he mistakenly said that former IU basketball player Landon Turner had died, and, after telling a story about Michael Jordan, he later told the same story, replacing Jordan with former IU basketball player Damon Bailey. Knight and his wife resided in Lubbock, Texas even after his retirement. On July 10, 2019, the Indiana Daily Student, IU's campus newspaper, reported that Knight and his wife had purchased a home in Bloomington for $572,500, suggesting that Knight had decided to return to Bloomington to live. On February 8, 2020, Knight was honored at an Indiana basketball game. It was the first Indiana game attended by Knight since his dismissal by the school 20 years prior. Coaching philosophy Knight was an innovator of the motion offense, which he perfected and popularized. The system emphasizes post players setting screens and perimeter players passing the ball until a teammate becomes open for an uncontested jump shot or lay-up. This required players to be unselfish, disciplined, and effective in setting and using screens to get open. Knight's motion offense did not take shape until he began coaching at Indiana. Prior to that, at Army, he ran a "reverse action" that involved reversing the ball from one side of the floor to the other and screening along with it. According to Knight, it was a "West Coast offense" that Pete Newell used exclusively during his coaching career. After being exposed to the Princeton offense, Knight instilled more cutting with the offense he employed, which evolved into the motion offense that he ran for most of his career. Knight continued to develop the offense, instituting different cuts over the years and putting his players in different scenarios. Knight was well known for the extreme preparation he put into each game and practice. He was often quoted as saying, "Most people have the will to win, few have the will to prepare to win." Often during practice, Knight would instruct his players to a certain spot on the floor and give them options of what to do based on how the defense might react. In contrast to set plays, Knight's offense was designed to react according to the defense. The 3-point shot was adopted by the NCAA in 1986, which was midway through Knight's coaching career. Although he opposed the rule change throughout his life, it did complement his offense well by improving the spacing on the floor. He sardonically said at the time that he supported institution of the three point shot because if a team's offense was functioning efficiently enough to get a layup the team should be rewarded with three points for that basket. Knight's offense also emphasized a two-count. Players in the post are expected to try to post in the paint for two seconds and if they do not receive the ball they go set a screen. Players with the ball are expected to hold the ball for two seconds to see where they are going to take it. Screens are supposed to be held for two seconds, as well. On defense Knight was known for emphasizing tenacious "man-to-man" defense where defenders contest every pass and every shot, and help teammates when needed. However, Knight has also incorporated a zone defense periodically after eschewing that defense for the first two decades of his coaching career. Knight's coaching also included a firm emphasis on academics. All but four of his four-year players completed their degrees, which was a ratio of nearly 98 percent. Nearly 80 percent of his players graduated; this figure was much higher than the national average of 42 percent for Division 1 schools. Legacy Accomplishments Knight's all time coaching record is 902–371. His 902 wins in NCAA Division I men's college basketball games is fourth all-time to Knight's former player Mike Krzyzewski, Syracuse head coach Jim Boeheim, and North Carolina head Coach Roy Williams. Knight achieved his 880th career win on January 1, 2007 and passed retired North Carolina coach Dean Smith for most career victories, a title he held until his win total was surpassed by Krzyzewski on November 15, 2011, by Jim Boeheim on December 30, 2012, and by Roy Williams on March 11, 2021. Knight is the youngest coach to reach 200 (age 35), 300 (age 40) and 400 (age 44) wins. He was also among the youngest to reach other milestones of 500 (age 48) and 600 (age 52) wins. Texas Tech's participation in the 2007 NCAA Tournament gave Knight more NCAA tournament appearances than any other coach. He is the only coach to win the NCAA, the NIT, an Olympic Gold medal, and a Pan American Games Gold medal. Knight is also one of only three people, along with Dean Smith and Joe B. Hall, who had both played on and coached an NCAA Tournament championship basketball team. Recognition Knight received a number of personal honors during and after his coaching career. He was named the National Coach of the Year four times (1975, 1976, 1987, 1989) and Big Ten Coach of the Year eight times (1973, 1975, 1976, 1980, 1981, 1989, 1992, 1993). In 1975 he was a unanimous selection as National Coach of the Year, an honor he was accorded again in 1976 by the Associated Press, United Press International, and Basketball Weekly. In 1987 he was the first person to be honored with the Naismith Coach of the Year Award. In 1989 he garnered National Coach of the Year honors by the AP, UPI, and the United States Basketball Writers Association. Knight was inducted into the Basketball Hall of Fame in 1991. On November 17, 2006, Knight was recognized for his impact on college basketball as a member of the founding class of the National Collegiate Basketball Hall of Fame. The following year, he was the recipient of the Naismith Award for Men's Outstanding Contribution to Basketball. Knight was also inducted into the Army Sports Hall of Fame (Class of 2008) and the Indiana Hoosiers athletics Hall of Fame (Class of 2009). In August 2003, he was honored as the first inductee in The Vince Lombardi Titletown Legends. Coaching tree A number of Knight's assistant coaches, players, and managers have gone on to be coaches. Among them are Hall of Fame Duke coach Mike Krzyzewski, former UCLA coach Steve Alford, Murry Bartow, and former coach Dan Dakich,and NBA coaches Randy Wittman, Mike Woodson, Keith Smart, Isiah Thomas, former Evansville and current Eastern Illinois Coach Marty Simmons, former Saint Louis Coach Jim Crews, Lawrence Frank, and former Texas Tech and current University of Texas coach Chris Beard. In the media Books about Knight In 1986, author John Feinstein published A Season on the Brink, which detailed the 1985–86 season of the Indiana Hoosiers. Granted almost unprecedented access to the Indiana basketball program, as well as insights into Knight's private life, the book quickly became a major best-seller and spawned a new genre, as a legion of imitators wrote works covering a single year of a sports franchise. In the book Feinstein depicts a coach who is quick with a violent temper, but also one who never cheats and strictly follows all of the NCAA's rules. Two years later, author Joan Mellen penned the book Bob Knight: His Own Man (), in part to rebut Feinstein's A Season on the Brink. Mellen deals with seemingly all the causes celebres in Knight's career and presents the view that he is more sinned against than sinning. In 1990, Robert P. Sulek wrote Hoosier Honor: Bob Knight and Academic Success at Indiana University which discusses the academic side of the basketball program. The book details all of the players that have played for Knight and what degree they earned. Only a month following his termination from IU, Rich J. Wolfe wrote Oh, What a Knight: Knightmares which is a two part book. Part One includes stories from people who have had positive interactions with Knight such as friends and former players, and Part Two is stories from people who have had negative interactions with Knight, such as the police officer who arrested Knight in Puerto Rico, and a Purdue basketball player who was playing in the game where Knight threw the chair. A number of close associates and friends of Knight have also written books about him. Former player and current Nevada Wolf Pack head basketball coach Steve Alford wrote Playing for Knight: My Six Seasons with Bobby Knight, published in 1990. Former player Kirk Haston wrote Days of Knight: How the General Changed My Life, published in 2016. Knight's autobiography, written with longtime friend and sports journalist Bob Hammel, was titled Knight: My Story and published in 2003. Three years later Steve Delsohn and Mark Heisler wrote Bob Knight: An Unauthorized Biography. In 2013, Knight and Bob Hammel published The Power of Negative Thinking: An Unconventional Approach to Achieving Positive Results. Knight discusses his approach to preparing for a game by anticipating all of the things that could go wrong and trying to prevent it or having a plan to deal with it. In the book Knight also shares one of his favorite sayings, "Victory favors the team making the fewest mistakes." In 2017, sports reporter Terry Hutchens published Following the General: Why Three Coaches Have Been Unable to Return Indiana Basketball to Greatness which discussed Knight's coaching legacy with Indiana and how none of the coaches following him have been able to reach his level of success. Film and television Knight has appeared or been featured in numerous films and television productions. In 1994 a feature film titled Blue Chips featured a character named Pete Bell, a volatile but honest college basketball coach under pressure to win who decides to blatantly violate NCAA rules to field a competitive team after a sub-par season. It starred Nick Nolte as Bell and NBA star Shaquille O'Neal as Neon Bodeaux, a once-in-a-lifetime player that boosters woo to his school with gifts and other perks. The coach's temper and wardrobe were modeled after Knight's, though at no time had Knight been known to illegally recruit. Knight himself appears in the movie and coaches against Nolte in the film's climactic game. ESPN's first feature-length film was A Season on the Brink, a 2002 TV adaptation from John Feinstein's book. In the movie Knight is played by Brian Dennehy. ESPN also featured Knight in a reality show titled Knight School, which followed a handful of Texas Tech students as they competed for the right to join the basketball team as a non-scholarship player. Knight made a cameo appearance as himself in the 2003 film Anger Management. In 2008, Knight appeared in a commercial as part of Volkswagen's Das Auto series where Max, a 1964 black Beetle interviews famous people. When Knight talked about Volkswagen winning the best resale value award in 2008, Max replied, "At least one of us is winning a title this year." This prompted Knight to throw his chair off the stage and walk out saying, "I may not be retired." Knight also made an appearance in a TV commercial for Guitar Hero: Metallica with fellow coaches Mike Krzyzewski, Rick Pitino, and Roy Williams, in a parody of Tom Cruise in Risky Business. In 2009, Knight produced three instructional coaching DVD libraries—on motion offense, man-to-man defense, and instilling mental toughness—with Championship Productions. Personal life and charitable donations Knight married the former Nancy Falk on April 17, 1963. They had two sons, Tim and Pat, but the couple divorced in 1985. Pat played at Indiana from 1991 to 1995 and served as head coach at Lamar from the time of his father's retirement until he was dismissed in 2014. Pat Knight coached Texas Tech after his father's retirement before he moved to Lamar. In 1988, Knight married his second wife, Karen Vieth Edgar, a former Oklahoma high school basketball coach. Knight has a high regard for education and has made generous donations to the schools he has been a part of, particularly libraries. At Indiana University Knight endowed two chairs, one in history and one in law. He also raised nearly $5 million for the Indiana University library system by championing a library fund to support the library's activities. The fund was ultimately named in his honor. When Knight came to Texas Tech in 2001, he gave $10,000 to the library, the first gift to the Coach Knight Library Fund which has now collected over $300,000. On November 29, 2007, the Texas Tech library honored this with A Legacy of Giving: The Bob Knight Exhibit. Knight supported Donald Trump's 2016 presidential campaign, and later made an appearance at his rally in Indianapolis for the 2018 midterms. At the rally, Knight called Trump "a great defender of the United States of America". Criticism and controversy 1970s It was reported years after the incident that Knight choked and punched IU's longtime sports information director, Kit Klingelhoffer, in the 1970s, over a news release that upset the coach. On December 7, 1974, Indiana and Kentucky met in the regular season in Bloomington with a 98–74 Indiana win. Near the end of the game, Knight went to the Kentucky bench where the official was standing to complain about a call. Before he left, Knight hit Kentucky coach Joe B. Hall in the back of the head. Kentucky's assistant coach Lynn Nance, a former FBI agent who was about 6 feet 5 inches, had to be restrained by Hall from hitting Knight. Hall later said, "It publicly humiliated me." Knight said the slap to the head was something he has done, "affectionately" to his own players for years. "But maybe someone would not like that," he said. "If Joe didn't like it, I offer an apology. I don't apologize for the intent." ... "Hall and I have been friends for a long time," Knight said. "If he wants to dissolve the friendship, that's up to him." Knight blamed the furor on Hall, stating, "If it was meant to be malicious, I'd have blasted the fucker into the seats." During the 1979 Pan American Games in San Juan, Puerto Rico, Knight was accused of assaulting a police officer while coaching the US Basketball team before a practice session. He was later convicted in absentia to a six-month jail sentence, but extradition efforts by the Puerto Rican government were not successful. 1960 Olympic gold medalist Douglas Blubaugh was head wrestling coach at IU from 1973 to 1984. Early in his tenure while he jogged in the practice facility during basketball practice, Knight yelled at him to leave, using more than one expletive. Blubaugh pinned Knight to a wall, and told him never to repeat his performance. He never did. 1980s In a game at Bloomington on January 31, 1981 between Indiana and Purdue, Hoosier star Isiah Thomas allegedly hit Purdue guard Roosevelt Barnes in what some critics described as a "sucker punch". Video replay shown by Knight later showed Barnes had mistakenly thrown the first punch, and that Thomas was merely reacting to this. When the two schools played their second game of the season at Purdue on February 7, 1981, Knight claimed a number of derisive chants were directed at him, his wife, and Indiana University. In response, Knight invited Purdue athletic director George King on his weekly television show to discuss the matter, but King declined. Therefore, in place of King, Knight brought onto the show a "jackass" (male donkey) wearing a Purdue hat as a representative of Purdue. The 1980–81 Hoosiers would go on to win the 1981 NCAA National Championship, the school's fourth national title. On Saturday, February 23, 1985 during a game at Bloomington between Purdue and Indiana, just five minutes into the game, a scramble for a loose ball resulted in a foul call on Indiana's Marty Simmons. Immediately after the resumption of play, a foul was called on Indiana's Daryl Thomas. Knight, irate, insisted the first of the two calls should have been for a jump ball and ultimately received a technical foul. Purdue's Steve Reid stepped to the free throw line to shoot the resulting free throws, but before he could, Knight grabbed a red plastic chair from Indiana's bench and threw it across the floor toward the basket in front of Reid. Knight was charged with second and third technical fouls and was ejected from the game. He apologized for his actions the next day and was given a one-game suspension and two years probation from the Big Ten. Since the incident, Knight has occasionally joked about throwing the chair by saying that he saw an old lady standing on the opposite sideline and threw her the chair so she could sit down. Women's groups nationwide were outraged by Knight's comments during an April 1988 interview with Connie Chung in which he said, "I think that if rape is inevitable, relax and enjoy it." Knight's comment was in reference to an Indiana basketball game in which he felt the referees were making poor calls against the Hoosiers. The same comment had already gotten weatherman Tex Antoine fired from WABC-TV in New York twelve years earlier and would ultimately derail the Texas gubernatorial bid of Clayton Williams two years later. 1990s At a practice leading up to an Indiana–Purdue game in West Lafayette in 1991, Knight unleashed a torrent of expletives and threats designed to motivate his Indiana team. In one portion he exclaimed he was "fucking tired of losing to Purdue." Unknown to most, someone was secretly taping the speech. The speech has since gone viral and has over 1.84 million views on YouTube alone. Although it is still not known who taped the speech, many former players suspect it was team manager Lawrence Frank. Players who were present were unable to remember the specific speech because such expletive-filled outbursts by Knight were so frequent. In March 1992 prior to the NCAA regional finals, controversy erupted after Knight playfully mock whipped Indiana players Calbert Cheaney and Pat Graham during practice. The bullwhip had been given to Knight as a gift from his team. Several black leaders complained at the racial connotations of the act, given that Cheaney was a black student. In January 1993, Knight mentioned the recruiting of Ivan Renko, a fictitious Yugoslavian player he had created. Knight created Renko in an attempt to expose disreputable basketball recruiting experts. Even though Renko was completely fictitious, several recruiting services started listing him as a prospect with in-depth descriptions of his potential and game style. Some of the more reputable recruiting gurus claimed to have never heard of Renko, whereas some other "experts" even claimed to possess or to see film of him actually playing basketball. Knight was recorded berating an NCAA volunteer at a March 1995 post-game press conference following a 65–60 loss to Missouri in the first round of the NCAA tournament held in Boise, Idaho. The volunteer, Rance Pugmire, informed the press that Knight would not be attending the press conference, when in reality, Knight was running a few minutes late and had planned on attending per NCAA rules. Knight was shown saying: "You've only got two people that are going to tell you I'm not going to be here. One is our SID, and the other is me. Who the hell told you I wasn't going to be here? I'd like to know. Do you have any idea who it was? ... Who? ... They were from Indiana, right? ... No, they weren't from Indiana, and you didn't get it from anybody from Indiana, did you?...No, I—I'll handle this the way I want to handle it now that I'm here. You (EXPLETIVE) it up to begin with. Now just sit there or leave. I don't give (EXPLETIVE) what you do. Now back to the game." Former Indiana player Neil Reed alleged that Knight had grabbed him by the neck in a choking manner during a 1997 practice. A videotape of the incident was shown on CNN. Neil Reed and former Indiana player Richard Mandeville alleged in a CNN interview that Knight once showed players his own feces. According to Mandeville, Knight said, "'This is how you guys are playing.'" 2000s On February 19, 2000, Clarence Doninger, Knight's boss, alleged to have been physically threatened by Knight during a confrontation after a game. An Indiana investigation inquired about an allegation in which Knight berated and physically intimidated a university secretary, once throwing a potted plant in anger, showering her with glass and debris. The university later asked Knight to issue an apology to the secretary. It was alleged that Knight attacked assistant coach Ron Felling, throwing him out of a chair after overhearing him criticizing the basketball program in a phone conversation. On September 8, 2000, Indiana freshman Kent Harvey told campus police Knight grabbed him roughly by the arm and berated him for speaking to Knight disrespectfully. Knight admitted putting his hand on the student's arm and lecturing him on civility, but denied that he was rough or raised his voice. Knight was fired from the university two days later. Two days after Knight was fired from Indiana University, Jeremy Schaap of ESPN interviewed him and discussed his time at Indiana. Towards the end of the interview, Knight talked about his son, Pat, who had also been dismissed by the university, wanting an opportunity to be a head coach. Schaap, thinking that Knight was finished, attempted to move on to another subject, but Knight insisted on continuing about his son. Schaap repeatedly tried to ask another question when Knight shifted the conversation to Schaap's style of interviewing, notably chastising him about interruptions. Knight then commented (referring to Schaap's father, Dick Schaap), "You've got a long way to go to be as good as your dad." In March 2006, a student's heckling at Baylor University resulted in Knight having to be restrained by a police officer. The incident was not severe enough to warrant any action from the Big 12 Conference. On November 13, 2006, Knight was shown allegedly hitting player Michael Prince under the chin to get him to make eye contact. Although Knight did not comment on the incident afterwards, Prince, his parents, and Texas Tech Athletic Director Gerald Myers insisted that Knight did nothing wrong and that he merely lifted Prince's chin and told him, "Hold your head up and don't worry about mistakes. Just play the game." Prince commented, "He was trying to teach me and I had my head down so he raised my chin up. He was telling me to go out there and don't be afraid to make mistakes. He said I was being too hard on myself." ESPN analyst Fran Fraschilla defended Knight by saying "That's coaching!" On October 21, 2007, James Simpson of Lubbock, Texas, accused Knight of firing a shotgun in his direction after he yelled at Knight and another man for hunting too close to his home. Knight denied the allegations. An argument between the two men was recorded via camera phone and aired later on television. 2010s On April 18, 2011, video surfaced showing Knight responding to a question concerning John Calipari and Kentucky's men's basketball team by stating that in the previous season, Kentucky made an Elite Eight appearance with "five players who had not attended a single class that semester." These claims were later disproven by the University and the players in question, including Patrick Patterson, who graduated in three years, and John Wall, who finished the semester in question with a 3.5 GPA. Knight later apologized for his comments stating, "My overall point is that 'one-and-dones' are not healthy for college basketball. I should not have made it personal to Kentucky and its players and I apologize." Former Indiana basketball player Todd Jadlow has written a book alleging that from 1985 to 1989, Knight punched him in the face, broke a clipboard over the top of his head, and squeezed his testicles and the testicles of other Hoosiers, among other abuses. In 2016, Knight was investigated by the FBI for inappropriate behavior exhibited while speaking on July 10, 2015 at an event sponsored by the National Geospatial Intelligence Agency. Head coaching record (*) Indicates record/standing at timeof resignation from Texas Tech See also List of college men's basketball coaches with 600 wins List of NCAA Division I Men's Final Four appearances by coach References External links Texas Tech profile Indiana profile 1940 births Living people American men's basketball players American Olympic coaches Army Black Knights men's basketball coaches Basketball coaches from Ohio Basketball players at the 1960 NCAA University Division Final Four Basketball players at the 1961 NCAA University Division Final Four Basketball players at the 1962 NCAA University Division Final Four Basketball players from Ohio College basketball announcers in the United States College basketball controversies in the United States College men's basketball head coaches in the United States Forwards (basketball) High school basketball coaches in Ohio Indiana Hoosiers men's basketball coaches Indiana Republicans Naismith Memorial Basketball Hall of Fame inductees Ohio State Buckeyes men's basketball players People from Cuyahoga Falls, Ohio People from Orrville, Ohio Sportspeople from Massillon, Ohio Texas Tech Red Raiders basketball coaches United States Army personnel United States men's national basketball team coaches	true	[ "Dan Steven Archdeacon (1954–2015) was an American graph theorist specializing in topological graph theory, who served for many years as a professor of mathematics and statistics at the University of Vermont.\n\nArchdeacon was born on May 11, 1954 in Dayton, Ohio, and grew up in Centerville, Ohio.\nHe did his undergraduate studies at Earlham College, graduating in 1975.\nHe completed his Ph.D. in 1980 from Ohio State University, under the supervision of Henry Hatfield Glover, with a dissertation proving an analogue of Kuratowski's theorem for the projective plane. He took a position at the University of Vermont in 1982, joining fellow graph theorist and Ohio State graduate Jeff Dinitz, after previously working as an instructor at the University of Kansas.\nHe died of cancer on February 18, 2015, in Burlington, Vermont.\n\nIn 2003–2004, the University of Vermont named him as University Scholar.\nA special issue of the Australasian Journal of Combinatorics was published in his honor in 2017.\n\nReferences\n\nExternal links\n\n1954 births\n2015 deaths\nPeople from Dayton, Ohio\n20th-century American mathematicians\n21st-century American mathematicians\nGraph theorists\nEarlham College alumni\nOhio State University Graduate School alumni\nUniversity of Kansas faculty\nUniversity of Vermont faculty\nMathematicians from Ohio\nDeaths from cancer in Vermont", "Noah C. McFarland (April 23, 1822 – April 26, 1897) was a state senator in multiple U.S. states and was Commissioner of the federal General Land Office from 1881 to 1885.\n\nBiography\nNoah C. McFarland was born in Washington County, Pennsylvania in 1822. He attended Washington College as a member of the class of 1844, but did not graduate. He moved to Bucyrus, Ohio in 1846, studied law, and was admitted to the bar. He moved to Hamilton, Ohio and practiced law; his house in Hamilton is still standing and has been named a historic site.\n\nMcFarland was elected to the Ohio State Senate in 1865. He then moved to Topeka, Kansas in 1870. He was elected to the Kansas State Senate, and was twice appointed a regent of the University of Kansas.\n\nIn 1881, McFarland was appointed Commissioner of the General Land Office, and served until 1885.\n\nMcFarland died at the Copeland Hotel, Topeka, Kansas on April 26, 1897.\n\nReferences\n\n1822 births\nDate of death unknown\nPeople from Washington County, Pennsylvania\nPoliticians from Hamilton, Ohio\nPoliticians from Topeka, Kansas\nOhio state senators\nKansas state senators\nOhio lawyers\nWashington & Jefferson College alumni\nGeneral Land Office Commissioners\n1897 deaths\nKansas Republicans\n19th-century American politicians\nPeople from Bucyrus, Ohio\n19th-century American lawyers" ]
[ "Exile (American band)", "1960s - Early rock and roll years" ]	C_25a4a885ca4e4de2936ded332d7961ab_1	How did they get their start?	1	How did the American rock-and-roll band Exile get their start?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	1963, a group of high school students started a rock and roll band in Richmond, Kentucky.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "How Did This Get Made? is a comedy podcast on the Earwolf network hosted by Paul Scheer, June Diane Raphael, and Jason Mantzoukas.\n\nGenerally, How Did This Get Made? is released every two weeks. During the show's off-week, a \".5\" episode is uploaded featuring Scheer announcing the next week's movie, as well as challenges for the fans. In addition to the shows and mini-shows, the How Did This Get Made? stream hosted the first three episodes of Bitch Sesh, the podcast of previous guests Casey Wilson and Danielle Schneider, in December 2015. It has also hosted episodes of its own spin-off podcast, the How Did This Get Made? Origin Stories, in which Blake Harris interviews people involved with the films covered by the main show. In December 2017, an episode was recorded for the Pee Cast Blast event, and released exclusively on Stitcher Premium.\n\nEvery episode has featured Paul Scheer as the host of the podcast. The only episode to date in which Scheer hosted remotely was The Smurfs, in which he Skyped in. Raphael has taken extended breaks from the podcast for both filming commitments and maternity leave. Mantzoukas has also missed episodes due to work, but has also Skyped in for various episodes. On the occasions that neither Raphael nor Mantzoukas are available for live appearances, Scheer calls in previous fan-favorite guests for what is known as a How Did This Get Made? All-Stars episode.\n\nList of episodes\n\nMini episodes\n\nReferences\n\nExternal links \n List of How Did This Get Made? episodes\n\nHow Did This Get Made\nHow Did This Get Made", "How Did This Get Made? (HDTGM) is a podcast on the Earwolf network. It is hosted by Paul Scheer, June Diane Raphael and Jason Mantzoukas. Each episode, which typically has a different guest, features the deconstruction and mockery of outlandish and bad films.\n\nFormat\nThe hosts and guest make jokes about the films as well as attempt to unscramble plots. After discussing the film, Scheer reads \"second opinions\" in the form of five-star reviews posted online by Amazon.com users. The hosts also often make recommendations on if the film is worth watching. The show is released every two weeks.\n\nDuring the show's off week a \".5\" episode (also known as a \"minisode\") is uploaded. These episodes feature Scheer's \"explanation hopeline\" where he answers questions from fans who call in, the movie for the next week is announced, Scheer reads corrections and omissions from the message board regarding last week's episode, and he opens fan mail and provides his recommendations on books, movies, TV shows etc. that he is enjoying.\n\nSome full episodes are recorded in front of a live audience and include a question and answer session and original \"second opinion\" theme songs sung by fans. Not all content from the live shows is included in the final released episode - about 30 minutes of each live show is edited out.\n\nHistory\nHow Did This Get Made? began after Scheer and Raphael saw the movie Wall Street: Money Never Sleeps. Later, the pair talked to Mantzoukas about the movie and joked about the idea for starting a bad movie podcast. , Wall Street: Money Never Sleeps has never been covered on the podcast.\n\nAwards\nIn 2019, How Did This Get Made? won a Webby Award in the category of Podcasts – Television & Film.\n\nIn 2020, How Did This Get Made? won an iHeartRadio award in the category of Best TV & Film Podcast.\n\nIn 2022, How Did This Get Made? won an iHeartRadio award in the category of Best TV & Film Podcast.\n\nSpinoffs\n\nHow Did This Get Made?: Origin Stories\nBetween February and September 2017, a 17-episode spin-off series of the podcast was released. Entitled How Did This Get Made?: Origin Stories, author Blake J. Harris would interview people involved with the movies discussed on the podcast. Guests on the show included director Mel Brooks, who served as executive producer on Solarbabies, and screenwriter Dan Gordon, who wrote Surf Ninjas.\n\nUnspooled\nIn May 2018, Scheer began a new podcast with Amy Nicholson titled Unspooled that is also devoted to movies. Unlike HDTGM?, however, Unspooled looks at films deemed good enough for the updated 2007 edition of the AFI Top 100. This is often referenced in How Did This Get Made? by Mantzoukas and Raphael, who are comically annoyed at how they were not invited to host the podcast, instead being subjected to the bad films that HDTGM covers.\n\nHow Did This Get Played?\nIn June 2019, the Earwolf network launched the podcast How Did This Get Played?, hosted by Doughboys host Nick Wiger and former Saturday Night Live writer Heather Anne Campbell. The podcast is positioned as the video game equivalent of HDTGM?, where Wiger and Campbell review widely panned video games.\n\nEpisodes\n\nAdaptation\nThe program was adapted in France in 2014 under the title 2 heures de perdues (http://www.2hdp.fr/ and available on Spotify and iTunes), a podcast in which several friends meet to analyze bad films in the same style (mainly American, French, and British films). The show then ends with a reading of comments found on AlloCiné (biggest French-speaking cinema website) or Amazon.\n\nReferences\n\nExternal links \n \n How Did This Get Made on Earwolf\n\nAudio podcasts\nEarwolf\nFilm and television podcasts\nComedy and humor podcasts\n2010 podcast debuts" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "How did they get their start?", "1963, a group of high school students started a rock and roll band in Richmond, Kentucky." ]	C_25a4a885ca4e4de2936ded332d7961ab_1	Did they have any influences?	2	Did the American band Exile have any influences?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	from the influx of Cubans into the United States after the Fidel Castro takeover	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "The Gurus were an American psychedelic rock band from the 1960s. They were among the first to incorporate Middle Eastern influences, maybe more than any other band of that era. The band broke up without making a large impact on the music scene of the time, although they did release two singles on United Artists Records in 1966 and 1967. Their album, The Gurus Are Hear, failed to be released in 1967, which was noted as the reason for the band splitting up.\n\nThe album was finally released in 2003.\n\nReferences\n\nAmerican psychedelic rock music groups", "Microwave Jenny is an Australian pop/folk/jazz duet that consists of Tessa Nuku on vocals and Brendon Boney on guitar and vocals. They both have Indigenous backgrounds with Brendon having been born and raised in Wagga Wagga, and Tessa having been born in Ulladulla, New South Wales before moving to and growing up in Umina Beach, New South Wales Brendon was the singing voice for the character Willie in film Bran Nue Dae. The phrase 'Microwave Jenny' comes from the 1997 film The Castle. The duo are married and have a daughter. Brendon has a solo alternative, hip/hop project called The Magpie Swoop.\n\nLive performance \nThe band play live in multiple formats either as an Acoustic Duet, Trio, Quartet or full band. The duo feature heavily on the Australian music festival circuit with notable live performances including Bluesfest, Woodford Folk Festival, Peats Ridge Festival and Nannup Music Festival.\n\nThey also supported Thirsty Merc on their 2011 national tour of Australia.\n\nInfluences \n\nMicrowave Jenny have cited James Taylor, Janis Ian, Bill Withers and Van Morrison as musical influences.\n\nAwards and nominations\nThey were recipients of the 2009 Peter Garrett Breathrough Grant. Brendon won an APRA Professional Development Award in 2011 for his songwriting and composing. In 2009, Microwave Jenny was nominated for a Deadly Award for Most Promising New Artist but did not win.\n\nDiscography \nThey have released two EPs\n\nSummer \n\n1. \"Mellow\" – 3:59\n2. \"Mr Man in the Moon\" – 3:47\n3. \"I'll Never Learn\" – 5:02\n4. \"Summer\" – 3:35\n\nCrazy, Crazy Things \n\n1. \"Stuck on the Moon\" – 3:06\n2. \"Homemade Lemonade\" – 3:52\n3. \"Lyin\" – 3:18\n4. Locked in the Closet\" – 3:54\n\nReferences\n\nExternal links\n http://www.microwavejenny.com\n\nAustralian pop music groups" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "How did they get their start?", "1963, a group of high school students started a rock and roll band in Richmond, Kentucky.", "Did they have any influences?", "from the influx of Cubans into the United States after the Fidel Castro takeover" ]	C_25a4a885ca4e4de2936ded332d7961ab_1	How did that influence them?	3	How did the influx of Cubans into the United States influence Exile?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "The multi-step flow theory assumes ideas flow from mass media to opinion leaders before being disseminated to a wider population. This theory was first introduced by sociologist Paul Lazarsfeld et al. in 1944 and elaborated by Elihu Katz and Lazarsfeld in 1955.\n\nThe multi-step flow theory offers a larger range of interaction between opinion leaders, information sources and audiences than the two-step model, which argues that information flows from mass media directly to influencers who then directly share it with their audience. This theory accounts more for the social nature of sharing information than the one-step or two-step flow theories. The two-step theory was popular when it was first introduced, but when it became difficult to actually measure opinion leaders' influence on the public's behavior and their opinions, the multi-step theory was developed. The multi-step theory argues that opinion leaders are influenced by multiple sources.\n\nThe multi-step flow theory also states opinion leaders are affected more by “elite media” than run-of-the-mill, mass media. This is evident by political opinion leaders receiving their information from unconventional sources such as The Huffington Post, instead of Fox News or MSNBC.\n\nAccording to the multi-step flow theory, opinion leaders intervene between the “media’s direct message and the audience’s reaction to that message.” Opinion leaders tend to have the great effect on those they are most similar to—based on personality, interests, demographics, or socio-economic factors. These leaders tend to influence others to change their attitudes and behaviors more quickly than conventional media because the audience is able to better identify or relate to an opinion leader than an article in a newspaper or a news program. This was confirmed in Lazarsfeld's 1940 study, The People's Choice, where Lazarsfeld studied Americans' opinions during presidential elections. He found that the mass media did not change people's behaviors much. However, personal attempts did achieve behavioral change. Lasarsfeld did work on another study with Katz published in 1955. This study, “Personal Influence,” proved that opinion leaders look to mass media in their general area of interest, and then share them with their communities.\n\nThis media influence theory shows that information dissemination is a social occurrence, which may explain why certain media campaigns do not alter audiences’ attitudes.\n\nAn important factor of the multi-step flow theory is how the social influence is modified. Information is affected by the social norms of each new community group that it enters. It is also shaped by conflicting views surrounding it.\n\nExamples in Society \n\nBusinesses and politicians have harnessed the power of opinion leaders. An example of this phenomenon is how individuals and companies have turned to Twitter influencers and bloggers to increase hype around specific topics.\n\nDuring the 2008 Presidential Elections, Sean Combs became an opinion leader for voting with his \"Vote or Die\" campaign.\n\nFormer Vice President, Al Gore also utilized the multi-step flow theory to gain support for his nonprofit, The Climate Project. Gore recruited individuals who were educated on environmental issues and had the ability to be influential in their community and amongst their friends and family. He then trained his opinion leaders on the information he wanted them to disseminate. This ultimately enabled them to educate many Americans about The Climate Project and Gore’s overall ideas about climate change.\n\nCriticisms \nOne criticism of the multi-step, as well as the two-step and one-step models is that they assume traditional mass media is the only source of information when that isn't always true.\n\nReferences \n\nMass media\nMass media theories", "Floating Flies and How to Dress Them - A Treatise on the Most Modern Methods of Dressing Artificial Flies for Trout and Grayling with Full Illustrated Directions and Containing Ninety Hand-Coloured Engravings of the Most Killing Patterns Together with a Few Hints to Dry-Fly Fishermen is a fly fishing book written by Frederic M. Halford published in London in April 1886 by Sampson Low. A deluxe edition (100 copies) on large paper sold out before publication and the trade edition of 500 nearly so.\n\nSynopsis\n\nFloating Flies and How to Dress Them provides an in-depth study of nearly 100 duns and spinners in the English chalk streams of Hampshire County. The book contains detailed drawings and instructions on how to create hand-made artificial flies. Included is information on types of hooks and implements to use, plus tips on dyeing materials and how to dress the flies on eyed-hooks. The book contains ten colorplates and many black and white line drawings illustrating specific techniques.\n\nReviews\n\nIn 1894, the New York Times wrote of Floating Flies and How to Dress Them:\nAnd now I come to books which are nothing if not practical. Of these, Mr. F. M. Halford's “Floating Flies and How to Dress Them,” and his “Dry Fly Fishing in Theory and Practice,” command the first place, as being, within certain limits, the best books on fishing with the artificial fly ever written. The limits are these. His books apply to the capture or brown trout and grayling only, salmon and sea trout being outside their purview.\n\nIn 1913, Emlyn M.Gill. writing for the New York Times, said:\n...when, in 1886, Mr. Halford published an important work on “Floating Flies and How to Dress Them.” he had practically a virgin field before him. His Dry-Fly Fishing in Theory and Practice,” published in 1889, became the standard work upon the subject.\nJohn Waller Hills, the noted British fly fishing historian of the early 20th century, said, \"Halford is the historian of the dry fly,\" with his first book leading the way to the spread of dry-fly fishing across the globe.\nIn his American Fly Fishing - A History (1987), Paul Schullery writes:\nThe dry-fly revolution that really got rolling with the appearance of Halford's first book, Floating Flies and How to Dress Them (1886) got plenty of attention in American books and articles.\nIn The Fly (2001), fly fishing historian Andrew Herd discusses the influence Halford's book had on fly fishing outside England:\nIt is hard to state how great Halford's influence was. His name became almost synonymous with chalk stream fishing and his innovations did not go unnoticed abroad. It was Halford's work that inspired M. Albert Petit to write the book that re-introduced and popularized fly fishing in France. .... Halford was also an important influence on American fly-tying: by 1888 Floating Flies and How to Dress Them could be purchased for twelve dollars from Forest and Stream and his flies were available from William and Mills of New York in the same year.\nIn F. M. Halford and the Dry-Fly Revolution (2002), Tony Hayter says of Floating Flies:\nThe response from the public to this impressive book was a first very favorable. Halford's scrapbook contains twenty-seven review notices, in which positive and gratifying adjectives abound: 'Practical, and at the same time delightfully-written', 'Thorough, clear and interesting', 'His almost unequalled experience', 'A real treat to get a book so plain and purposelike, and so beautifully got up in all respects'. The Field thought it 'something more than deeply interesting...a landmark.' The Globe wrote: 'The directions are beautifully clear, and anglers will be specially delighted with the illustrations.' Punch awarded the accolade in verse form: A capital volume, and no one will doubt it; No fisherman now should ever be without it.\nPaul Schullery writes in Halford on the Dry Fly (2008):\nHalford's first book: Floating Flies and How to Dress Them (1886) was a concise and beautiful fly tying manual and fly pattern reference book, but contained only a brief chapter on how to actually fish with dry flies.\n\nContents\nChapter I - On Eyed-Hooks - 1\nChapter II - On Materials and Implements For Fly Dressing. - 7\nChapter III - On Dyeing - 22\nChapter IV - To Dress Floating Flies on Eyed-Hooks - 31\nChapter V - On Artificial Flies - 75\nChapter VI - Hints To Dry-Fly Fishermen – 116\n List of Coloured Plates\n Crawshaw and Co.'s Special Dyes - To Face Page 30\n Plate I. Olive Duns - 84\n Plate II - Blue Duns and Hare's Ears - 88\n Plate III - Red Spinners, Wickham’s, Indian Yellow, Little Marryat, Blue Winged Olive, Etc. - 92\nPlate IV - Hackle Duns and Spinners, Badgers, Etc. - 96\nPlate V - Bumbles, Red Tags, Green Insect, Etc. - 100\nPlate VI - Grannom, Alder, Ants, Fisherman's Curse, Black Gnats, Etc. - 104\nPlate VII - Sedges, Etc. - 108\nPlate VIII - Green Drakes - 112\nPlate IX - Spent Gnats - 114\n\nOther editions\nFrom Antiquarian Book Exchange\n\nFurther reading\n\nSee also\n Bibliography of fly fishing\n\nNotes\n\nExternal links\n Internet Archive online version\n How to tie dry fly video tutorial by Barry Ord Clarke\n\n1886 non-fiction books\nAngling literature\nFly fishing literature\nBritish books\nRecreational fishing in the United Kingdom" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "How did they get their start?", "1963, a group of high school students started a rock and roll band in Richmond, Kentucky.", "Did they have any influences?", "from the influx of Cubans into the United States after the Fidel Castro takeover", "How did that influence them?", "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society." ]	C_25a4a885ca4e4de2936ded332d7961ab_1	When did they release their first album?	4	When did Exile release their first album?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	In the early 1960s	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "Cover Up is an album by UB40, released in 2001. It was their first studio album release since 1998 when they released Labour of Love III. It debuted at number 29 on the UK charts but dropped out of the top-100 after its third week. There was no US release, but rather it was released as an international release. The first single released from this album was \"Since I Met You Lady\", but it did not rise higher than No. 40 on the UK charts.\n\nTrack listing\nAll tracks composed by UB40; except where indicated\n\nReferences\n\n2001 albums\nUB40 albums", "The discography of the American rock band The Velvet Underground consists of five studio albums, six live albums, 14 compilation albums, six box sets and eleven singles.\n\nThe first line-up was formed in New York City consisting of Lou Reed on vocals and guitar, John Cale on several instruments (viola, keyboards and bass), Sterling Morrison on guitar and bass and Angus MacLise on percussion (replaced by Maureen Tucker in November 1965). On March 12, 1967 they released their debut album The Velvet Underground & Nico featuring German singer Nico. The album charted in the United States and originally peaked at number 171 on the Billboard album charts and produced two singles, \"All Tomorrow's Parties\" and \"Sunday Morning\", which did not chart anywhere. The album, produced by artist Andy Warhol, recharted in 2013 peaking at number 129.\n\nVU released their second studio album White Light/White Heat, which peaked at number 199 of the Billboard charts. The album was more experimental than their first album, featuring a loud and aggressive musical style. The album was produced without Warhol and Nico for the first time. In March 1969 they released the third studio album The Velvet Underground, their first project with Cale's replacement Doug Yule. It did not chart upon its original release. However, when reissued in 1985 it peaked at number 197 in the Billboard chart. One year later, Loaded was released by Atlantic Records, the first time by a major label. Compared with VU first releases, Loaded was produced for the mainstream, without thematizing sex and drugs. Although the songs were successful and popular in several music radios, neither singles, nor the album itself peaked in any music chart. It was the last album featuring Lou Reed, the founder of VU. After his departure, Yule became the new frontman of The Velvet Underground and toured together with Willie Alexander (keyboard), Walter Powers (bass guitar), Maureen Tucker (drums) and other musicians. In 1973, he recorded their fifth and last regular studio album, Squeeze, which for some time dropped out of the official discography. After their break-off, several compilation albums were released, some of which feature outtakes from their previous studio sessions, most notably VU, which peaked at number 85 on Billboard and 47 on the UK Albums Chart.\n\nAlbums\n\nStudio albums\n\nNotes\nA Upon its release in 1967 the album peaked in the US at 171. Shortly after the death of Lou Reed in 2013 it recharted for one week and peaked at 129.Likewise in the UK, where the album did not chart until 1994 when it reached 59, it recharted at 43 shortly after Reed's death in 2013.\nB The album did not chart in its original release in 1969, but did chart on its reissue in 1985 when it peaked at 197.\nC The album appeared on Billboard's Bubbling Under the Top LPs chart for the week of Jan. 30, 1971.\n\nLive albums\n\nCompilations\n\nNotes\nD 2002 reissue\n\nBox sets\n\nSingles\n\nSee also\nList of songs by The Velvet Underground\n\nReferences\n\nDiscography\nDiscographies of American artists\nDiscographies of British artists\nRock music group discographies" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "How did they get their start?", "1963, a group of high school students started a rock and roll band in Richmond, Kentucky.", "Did they have any influences?", "from the influx of Cubans into the United States after the Fidel Castro takeover", "How did that influence them?", "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society.", "When did they release their first album?", "In the early 1960s" ]	C_25a4a885ca4e4de2936ded332d7961ab_1	Did it contain any singles?	5	Did Exile's first album contain any singles?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	one was named "The Answer to Her Prayers	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "The discography of British rock and pop band the Hollies consists of 21 studio albums, 24 compilation albums, two tribute/covers albums, seven extended plays, and 67 singles.\n\nSince the Hollies released their first single on 17 May 1963, the group has had 30 charting singles on the UK Singles Chart, 21 on the Billboard Hot 100, 21 on RPM magazine's singles chart, 25 on Germany's singles chart, and 11 on the VG-lista singles chart. Many of the Hollies' singles contain three-part vocal harmony, although a few—such as \"Long Cool Woman in a Black Dress\"—do not contain any vocal harmonies.\n\nA total of 15 albums by the Hollies have charted on the UK Albums Chart, 13 have charted on the Billboard 200, five have charted on the VG-lista albums chart, four have charted in the Netherlands, and six have charted on RPM magazine's Top Albums chart.\n\nAlbums\n\nCompilation albums\n\nSingles\n(Mixed worldwide releases)\n\nEPs\n\nNotes\nA.Originally peaked at no.3 on first release in 1969 but subsequently reached no.1 when reissued in 1988.\n\nReferences\n\nExternal links\nhttp://www.capitol6000.com/\n \n\nDiscographies of British artists\nRock music group discographies\nDiscography", "List of the Slovenian number-one singles of 2013 compiled by SloTop50, is the official chart provider of Slovenia. SloTop50 publishes weekly charts once a week, every Sunday. Chart contain data generated by the SloTop50 system according to any song played during the period starting the previous Monday morning at time 00:00:00 and ending Sunday night at 23:59:59.\n\nCharts\n\nNumber-one singles by week \nWeekly charted #1 songs and highest charted counting among domestic songs only\n\nNumber-one singles by month \nMonthly charted #1 songs and highest charted counting among domestic songs only\n\nNumber-one singles by year-end \nThe most played singles on 61 different Slovenian radio stations for year 2013.\n\nReferences \n\nNumber-one hits\nSlovenia\nLists of number-one songs in Slovenia" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "How did they get their start?", "1963, a group of high school students started a rock and roll band in Richmond, Kentucky.", "Did they have any influences?", "from the influx of Cubans into the United States after the Fidel Castro takeover", "How did that influence them?", "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society.", "When did they release their first album?", "In the early 1960s", "Did it contain any singles?", "one was named \"The Answer to Her Prayers" ]	C_25a4a885ca4e4de2936ded332d7961ab_1	Did they win any awards?	6	Did Exile win any awards?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	CANNOTANSWER	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "Le Cousin is a 1997 French film directed by Alain Corneau.\n\nPlot \nThe film deals with the relationship of the police and an informant in the drug scene.\n\nAwards and nominations\nLe Cousin was nominated for 5 César Awards but did not win in any category.\n\nReferences\n\nExternal links\n\n1997 films\n1997 crime films\nFilms about drugs\nFilms directed by Alain Corneau\nFrench crime films\nFrench films\nFrench-language films", "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" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "How did they get their start?", "1963, a group of high school students started a rock and roll band in Richmond, Kentucky.", "Did they have any influences?", "from the influx of Cubans into the United States after the Fidel Castro takeover", "How did that influence them?", "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society.", "When did they release their first album?", "In the early 1960s", "Did it contain any singles?", "one was named \"The Answer to Her Prayers", "Did they win any awards?", "I don't know." ]	C_25a4a885ca4e4de2936ded332d7961ab_1	Are there any other interesting aspects about this article?	7	Besides Exile's first album, are there any other interesting aspects about this article?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	In the late 1960s, they recorded for both Date Records and Columbia Records,	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "How did they get their start?", "1963, a group of high school students started a rock and roll band in Richmond, Kentucky.", "Did they have any influences?", "from the influx of Cubans into the United States after the Fidel Castro takeover", "How did that influence them?", "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society.", "When did they release their first album?", "In the early 1960s", "Did it contain any singles?", "one was named \"The Answer to Her Prayers", "Did they win any awards?", "I don't know.", "Are there any other interesting aspects about this article?", "In the late 1960s, they recorded for both Date Records and Columbia Records," ]	C_25a4a885ca4e4de2936ded332d7961ab_1	Why did they record for both?	8	Why did Exile record for both Date Records and Columbia Records?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	the Exiles developed and polished their sound.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "\"Why\" is one of the early songs performed by the Beatles when they were backing Tony Sheridan. It was first issued on Sheridan's french extended play called \"Mister Twist\" in 1962. In the UK, it is the B-side of the instrumental rock tune \"Cry for a Shadow\". Although it was originally intended to be the A-side, the record label Polydor chose not to release it (at that time). When the Beatles were gaining popularity by 1964, the record label decided to release it with \"Cry for a Shadow\" as the A-side and \"Why\" as its B-side. In the US and Canada, it was released as originally intended, by the North American record label MGM with \"Why\" as the A-side and \"Cry for a Shadow\" as the B-side, due to its being an instrumental. Both were included on the German compilation album \"The Beatles' First!\" in 1964 and on all its other reissues worldwide in subsequent years.\n\n\"Why\" reached number 88 on the US Billboard Hot 100 the week ending April 18, 1964. It spent only one week on the chart.\n\nPersonnel\n Tony Sheridan – lead vocals\n John Lennon – rhythm guitar\n Paul McCartney – bass guitar\n George Harrison – lead guitar\n Pete Best – drums\n Karl Hinze – engineer\n\nReferences\n\nThe Beatles with Tony Sheridan songs\nPolydor Records singles\nMGM Records singles", "The O'Kanes was an American country music duo, composed of Jamie O'Hara and Kieran Kane. Active between 1986 and 1990, the duo recorded three albums for Columbia Records and charted seven singles on the Billboard Hot Country Singles (now Hot Country Songs) chart, including \"Can't Stop My Heart from Loving You\". Kane charted seven singles of his own in the early 1980s, and O'Hara won a Grammy Award for co-writing \"Grandpa (Tell Me 'Bout the Good Ol' Days)\", a hit for The Judds. After they disbanded in 1990, both members pursued solo careers, and Kane founded a record label named Dead Reckoning Records.\n\nO'Hara died of cancer on January 7, 2021, at age 70.\n\nDiscography\n\nAlbums\n\nNotes:\nA \"Why Should I?\" and \"Diddy All Night Long\" did not chart on Hot Country Songs, but both peaked at No. 7 on Hot Country Radio Breakouts.\n\nMusic videos\n\nReferences\n\n1986 establishments in Tennessee\n1990 disestablishments in Tennessee\nCountry music groups from Tennessee\nCountry music duos\nColumbia Records artists\nMusical groups established in 1986\nMusical groups disestablished in 1990" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "How did they get their start?", "1963, a group of high school students started a rock and roll band in Richmond, Kentucky.", "Did they have any influences?", "from the influx of Cubans into the United States after the Fidel Castro takeover", "How did that influence them?", "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society.", "When did they release their first album?", "In the early 1960s", "Did it contain any singles?", "one was named \"The Answer to Her Prayers", "Did they win any awards?", "I don't know.", "Are there any other interesting aspects about this article?", "In the late 1960s, they recorded for both Date Records and Columbia Records,", "Why did they record for both?", "the Exiles developed and polished their sound." ]	C_25a4a885ca4e4de2936ded332d7961ab_1	Did they leave Date Records due to a conflict?	9	Did Exile leave Date Records due to a conflict?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	CANNOTANSWER	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "Kees Hoving (1919, Medan, Indonesia – 1991, Utrecht, Netherlands) was a Dutch swimmer who specialized in the 100m freestyle event. He won the 1938 European Aquatics Championships with a time of 59.8 seconds, becoming the first Dutch male athlete to win a European swimming title and to swim 100 meters within one minute. After that he did not compete internationally, except for the 1947 European Aquatics Championships, due to World War II and later due to a conflict with his swimming club. However, he won the national championships in 1937, 1938, 1941, 1946 and 1948, and set eight national records between 1937 and 1946. His records were broken only in 1950, by Joris Tjebbes.\n\nReferences\n\n1919 births\n1991 deaths\nDutch male freestyle swimmers\nEuropean Aquatics Championships medalists in swimming\nSportspeople from Medan\nDutch people of the Dutch East Indies", "In Italy, maternity leave is compulsory and women must take up to two months off from work before her due date and three months off after the baby's birth. In certain scenarios, women may ask their employers for more time off before the baby's due date if her pregnancy is considered at risk and if her workplace puts her health or her baby's in danger. In some instances, women can request to work up to one month before her due date with the approval of her doctor and employer. However, this means that she will have to take a total of four months off after the birth of her child.\n\nPaternity leave \nFathers are also obligated to take a seven-day paid leave of absence from work during the five months of maternity leave. The mother has the option to extend the father's paternal leave if she transfers one of her maternity days to him.\n\nParental leave \nOne parent or both parents have the option to take up to 11 months of leave from work during the first eight years of their child's life. Parental leave allowance is significantly less than maternity leave allowance; parental leave is only 30% of one's wages.\n\nMaternity allowance\nThese pensions are funded by the INPS (National Institute for Social Security) which are financed by the employers and employees through the rate established by the employment sector. Workers can either be paid from INPS or through the employer who is compensated by the INPS. During the five-month leave, women are paid up to 80% of their wage but companies usually pay for the remainder 20%.\n\nInternational minimum standards \nThe Maternity Protection Convention, 2000 requires at least 14 weeks of maternity leave. In the European Union, the Pregnant Workers Directive requires at least 14 weeks of maternity leave; while the Work–Life Balance Directive requires at least 10 days of paternity leave, as well as at least 4 months of parental leave, with 2 months being non-transferable.\n\nReferences\n\nItalian society\nItaly" ]
[ "The Living End", "The Longnecks to Modern ARTillery (2002-2005)" ]	C_58dfb949fb84497aa3cc8f32549381b6_0	What is The Longnecks?	1	What is The Longnecks?	The Living End	In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboard's Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboard's Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997-2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. CANNOTANSWER	The Living End developed a side project, The Longnecks,	The Living End are an Australian punk rockabilly band from Melbourne, formed in 1994. Since 2002, the line-up consists of Chris Cheney (vocals, guitar), Scott Owen (double bass, vocals), and Andy Strachan (drums). The band rose to fame in 1997 after the release of their EP Second Solution / Prisoner of Society, which peaked at No. 4 on the Australian ARIA Singles Chart. They have released eight studio albums, two of which reached the No. 1 spot on the ARIA Albums Chart: The Living End (October 1998) and State of Emergency (February 2006). They have also achieved chart success in the U.S. and the United Kingdom. The Band was nominated 27 times and won five awards at the Australian ARIA Music Awards ceremonies: "Highest Selling Single" for Second Solution / Prisoner of Society (1998), "Breakthrough Artist – Album" and "Best Group" for The Living End (1999), as well as "Best Rock Album" for White Noise (2008) and The Ending Is Just the Beginning Repeating (2011). In October 2010, their debut album was listed in the book "100 Best Australian Albums". Australian musicologist Ian McFarlane described the group as "one of Australia’s premier rock acts. By blending a range of styles (punk, rockabilly and flat out rock) with great success, The Living End has managed to produce anthemic choruses and memorable songs in abundance". History Beginnings (1994–1996) The Living End were formed in 1994 by Chris Cheney and Scott Owen, who had met years earlier in primary school through their older sisters and began performing together from 1990 while attending Wheelers Hill Secondary College in Melbourne. Cheney and Owen had their first public gig at The Rob Roy in Melbourne in 1991. Cheney was a fan of rockabilly group Stray Cats and this prompted Owen, who originally played piano, to switch to double bass. The pair formed a cover band, The Runaway Boys, which performed Stray Cats and The Clash material. That group were named after a track, of the same name, from the Stray Cats self-titled debut album (February 1981). The Runaway Boys initially played in the local rockabilly music scene but expanded their audience by performing in regional towns and backing popular Melbourne cover band Mercury Blue at the Wheelers Hill Hotel/Pub. Cheney later recalled "[w]e played to all the jivers and rock 'n' rollers ... And we slowly drifted into Melbourne's rockabilly scene". As Cheney and Owen persevered, the band went through several drummers, while they were still attending school. By 1994, Cheney and Owen were writing their own material and decided to change the band's name to The Living End – a reference to the film, Rock Around the Clock (1956). According to Cheney "It's an old '50s term, meaning 'far out', 'the greatest' ... We were still into the whole '50s thing, but we wanted a neutral name, one that didn't suggest any one style of music". With Cheney on lead guitar and lead vocals, and Owen on double bass and backing vocals, the group settled on Joe Piripitzi as their drummer. Cheney considered Piripitzi to be ideal due to his charismatic appearance. During that year they recorded a track, "Headlines", which had been co-written by Cheney and Owen. The group sent a T-shirt and demo tape to Green Day guitarist and lead vocalist, Billie Joe Armstrong, and landed a support slot for Green Day's 1995 Australian tour. After that tour, The Living End recorded additional tracks for their debut extended play, Hellbound, which received moderate support from community radio stations. It was produced by the group and included "Headlines" from the previous year. Ed Nimmervoll, an Australian musicologist, described the EP's sound: "they turned their back on '50s rock revivalism and adapted that instrumentation to original songs steeped in UK punk". In November 1995, the trio recorded their second EP, It's for Your Own Good, which appeared in the following June. The six-track EP was co-produced by Lindsay Gravina (Underground Lovers, Cosmic Psychos), Mike Alonso (Jericho) and The Living End for the Rapido label. It included their first radio airplay hit, "From Here on In", which was placed on high rotation by national youth radio network, Triple J. Shortly after, Piripitzi was fired as his lifestyle choices were holding back the band. He was replaced on drums by Travis Demsey (later in The Knockout Drops). With Demsey the group appeared at major festivals: Pushover and the Falls Festival. Demsey's drum style was compared with The Who's Keith Moon. "From Here on In" was used on the soundtrack for the 1998 film, Occasional Course Language. Breakout single to debut album (1997–1999) The Living End toured Australia for a year, then in August 1997 they recorded new material to sell at their live shows. Their double A-sided single, "Second Solution" / "Prisoner of Society", was issued in January the following year. Also that month they had supported The Offspring on the Australian leg of their tour. "Second Solution" / "Prisoner of Society" peaked at No. 4 on the ARIA Singles Chart, and was certified double-platinum by ARIA for shipment of 140,000 copies. At the ARIA Music Awards of 1998 it won the Highest Selling Single category; and eventually became the highest selling Australian single of the 1990s. It lasted a record-breaking 47 weeks in the Top 50. In October 1998 it peaked at No. 28 on the New Zealand Singles Chart. It was later featured in the game, Guitar Hero World Tour. "Second Solution" was used in the soundtrack for the 2002 movie, Cheats, which starred Trevor Fehrman, Matthew Lawrence, and Mary Tyler Moore. Early in 1998 "Prisoner of Society" was issued as a separate single in the United Kingdom and, the following year, in the US. The single appeared in the top 200 of the UK Singles Chart, and peaked at No. 23 on the Billboards Alternative Songs Chart. The band signed with Modular Recordings for the release of their debut self-titled album, which appeared on 12 October 1998, and was co-produced by Gravina with the trio. It peaked at No. 1 on the ARIA Albums Chart, became the then-second highest-selling debut rock album in Australian music history and, by 1999, was certified 4x Platinum for shipment of 280,000 units. Their next Australian single, "Save the Day", was issued in September 1998, a month ahead of the album. It made the top 30 on the ARIA Singles Chart. It became their highest charting hit on the New Zealand Singles Chart, where it reached No. 10. From the album, a total of six singles were released including a live cover version of "Tainted Love", which was issued as a radio-only single on Triple J. At the ARIA Music Awards of 1999, The Living End won two more awards: Best Group and Breakthrough Artist – Album. At the ceremony they were also nominated for Album of the Year and Highest Selling Album. In October 2010 their debut album was listed in the book 100 Best Australian Albums. Roll On (2000–2001) The Living End's second album, Roll On, was recorded during July 2000 with Nick Launay (Midnight Oil, Models, Silverchair) producing and appeared in November that year. It peaked at No. 8 on the ARIA Albums Chart and reached the top 40 in New Zealand. Although Roll On was a more creative work, Nimmervoll mentioned that they had "broadened their musical scope while keeping in tact [sic] what made them unique - the instrumentation and the socially-aware lyrics". The album did not achieve the status of their earlier album as it was certified platinum for shipment of 70,000 copies. Despite this, fans consider it to be as strong as the self-titled album; "[it's] an absolute scorcher! That's what years of live honing can do for a band that was already white-hot". Cheney later stated that he was trying to prove to critics that The Living End were not a band simply defined by their hit, "Prisoner of Society", and the album showed this by displaying other influences, as well as their traditional fast-paced rockabilly music. Rolling Stone Jenny Eiscu compared it to The Clash's creative breakthrough, London Calling (December 1979), as they "stomp all over the boundaries between punk, reggae, rockabilly and plain old rock & roll – and it still sounds like a revelation, twenty-two years after [T]he Clash did it. The pupils don't quite outpace the masters here ... But the band is obviously having such a riotously good time that you'd be a sucker not to stomp your foot and join the party". Much of the style was comparable to 1980s hard rock and pub rock, as well as many tracks being obscure mixes of many ideas, resulting in 'procrastinating' structures. This defined the album's creativity. The album's first two singles, "Pictures in the Mirror" and the title track, peaked into the top 20 on the ARIA Singles Chart. "Pictures in the Mirror" also reached the top 20 in New Zealand, while "Roll On" peaked at No. 33 on the Billboard Alternative Songs Chart, and appeared in the top 150 of the UK Singles Chart. In March 2001 Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict". The trio received US-wide coverage by playing on both Conan O'Brien's and David Letterman's late-night variety shows. The album included "Carry me Home", which appeared on the Guitar Hero II soundtrack. However, touring in support of Roll On and the related singles was halted after Cheney had a car accident on the Great Ocean Road, rendering him unable to play for a significant period of time: he was "hospitalised for 2 months". He had been on travelling to the house of a member of fellow Australian band and tour mates, Bodyjar. The Longnecks to Modern ARTillery (2002–2005) In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboards Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboards Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997–2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. State of Emergency (2005–2007) The Living End's fourth studio album, State of Emergency, was recorded in Byron Bay with Launay producing, following the band's appearance at Splendour in the Grass. The recording and the artwork was completed in mid-December 2005, and the album was released on 4 February the following year. The Living End had again played gigs as The Longnecks, before recording the album, to test out the new material. It peaked at No. 1 on the ARIA Albums Chart in its first week, it reached top 40 in New Zealand, and on Billboards Alternative Songs Chart. The lead single, "What's on Your Radio?", had been issued in November 2005, and reached No. 9 on the ARIA Singles Chart. The second single, "Wake Up", was released in February just after the album and reached No. 5. It became their highest charting single in New Zealand where it peaked at No. 12. The third single, "Long Live the Weekend", was released in May, and appeared in the top 30 in Australia. The fourth single, "Nothing Lasts Forever", was released in August and also reached the top 40. The album was nominated for the 2006 J Award. The album was issued in the US through Green Day's Armstrong's Adeline Records along with Eastwest Records on 11 July 2006 and in Canada a week later. Another release in support of the album was the DVD, Live at Festival Hall, on 30 September, which captured a Melbourne performance during the State of Emergency Tour, and featured many songs from the album, and earlier tracks. On 20 June 2006 the band received four Jack Awards: Best Live Band, Best Live TV Performance, Best Performer (Cheney) and Best Drummer (Strachan). Thereby the group achieved the most awards in a year and, at eight overall, the most by any artist. During the 2006 State of Emergency tour, the Living End's show in Milwaukee was cancelled, so it was rescheduled on 2 December as a support act for +44. On 6 October Cheney left the band because he felt burnt out, he was sick of the constant touring, as well as experiencing writer's block. Cheney felt that he needed to get away from the band and develop other aspects of his life. This information was kept confidential until 2008. Early in 2007 Cheney had isolated himself from his bandmates while trying to write tracks for a follow-up to State of Emergency. He was disappointed with the results so he took up yoga, spent time painting and being around his baby daughter whilst taking a break from music for the first time in 10 years. During this period the band released a radio-only single, a cover version of Cold Chisel's "Rising Sun", available on the Standing on the Outside (March 2007), a Cold Chisel tribute album by various Australian artists. After Cheney overcame his writer's block and was convinced not to leave the band, the group played The Great Escape in April 2007 and restarted work on their fifth studio album. They toured the UK in August that year, releasing State of Emergency there on 13 August through Deck Cheese Records. White Noise (2008–2009) The Living End released their fifth studio album, White Noise, on 19 July 2008. The trio had performed at The Ages Entertainment Guide's EG Awards in Melbourne in December 2007. Two new songs had been premiered, "Raise the Alarm" and "How Do We Know". During February the following year they played gigs as The Longnecks to test out more new material prior to recording. The gigs were described by Cheney as the most exciting of their career, "there is a heaviness and depth to the new stuff that we simply haven't had before". Pre-production for the album took place at Studio One in Collingwood, Melbourne with producer Kalju Tonuma. This included various co-writes including the track "Sum of Us". After the sonic blueprint of the album was established, producer John Agnello (Sonic Youth, The Hold Steady) was engaged to commence recording at Water Music Studios in Hoboken, New Jersey, for their new label, Dew Process, on the week beginning 31 March. Cheney felt Agnello "[could] capture the energy and attack we are after". Brendan O'Brien mixed the record at Silent Sound Studios in Atlanta, Georgia. The Ages Andrew Murfett declared they "have never been able to convey the energy and power of their live shows on record ... [this album] is fresh, diverse and relatively honest, and TLE suddenly got a lot more interesting". White Noise peaked at No. 2 on the ARIA Albums Chart in its first week, it reached No. 18 in New Zealand – becoming their highest charting album there. In support of the album, they made TV appearances, including a performance on 5 October at the 2008 NRL Grand Final at ANZ Stadium. At the ARIA Music Awards of 2008, White Noise was awarded the Best Rock Album, over efforts from Gyroscope and Faker. The first single issued from the album included the title track. Another song, "How Do We Know", was simultaneously released as a radio-only track on Triple J, and was heard on other radio stations, such as Nova 969. The tracks formed a double A-sided single, which was issued both physically and digitally in July 2008. It reached No. 12 on the ARIA Singles Chart, and top 30 in New Zealand. White Noise had almost a year-and-a-half of writing behind it, showing "more of a hard rock influence" and the group declared it's "the best thing we've ever done". In September that year a second single, "Moment in the Sun", was released to Australian radio; it was physically and digitally released a month later. In December "Raise the Alarm" was released to radio as the third single. A music video had been issued containing footage of live performances during the White Noise Tour and some others. In February 2009 the band made a secret appearance in Melbourne supporting the Stray Cats on their Farewell Tour. In May The Living End started the Raise the Alarm Tour. The Ending Is Just the Beginning Repeating (2010–2015) During September and October 2010 The Living End performed under another alias, Safety Matches, testing new material, similar to the previous usage of The Longnecks, for their sixth album, The Ending Is Just The Beginning Repeating. The tracks vetted included "United", "Universe", "Away from the City" (then-titled "Black and White"), the title track, "Resist" and "Heatwave". In the January 2011 edition of The Living End's News, Cheney revealed "[h]aving spent all of 2010 writing album 6 we have amassed something in the vicinity of 40+ songs to choose from... There are some really different ideas kicking around this time but the emphasis has been on creating a cohesive album that is heavy, melodic and overall very anthemic". The title track was premiered as the lead single in early June 2011 on national radio stations. The album appeared on 22 July that year, it was produced by Nick DiDia (Powderfinger). On 17 July Triple J played tracks from the album with further tracks played through the week prior to its release. The Living End also allowed fans on their mailing list a 24-hour stream of the record on 18 July. Fans could listen as many times as they wanted and were able to comment on the stream. In support of the album a live stream of a performance occurred on YouTube on 19 July. This featured an additional guitarist as well as Cheney playing rhythm guitar. From 2011 the band has employed Adrian Lombardi (ex-Mid Youth Crisis, Blueline Medic) on stage as their second guitarist. In July 2012 Cheney announced on Triple J that throughout November and December of that year, as part of The Retrospective Tour, they would perform each of their six studio albums over a week, in each of five Australian state capitals (Perth, Adelaide, Sydney, Brisbane and Melbourne). The Living End played in the UK and Germany throughout August and September 2013, and headlined at the Summernats 27 in Canberra in 2014. The Living End also played at the 2014 Soundwave Festival in Australia as a replacement for Stone Temple Pilots who had to pull out due to scheduling conflicts with the recording of their next album. The Living End supported Cold Chisel in their One Night Stand tour, with shows at Townsville, Darwin, Perth, Macedon Ranges and Sydney. Shift (2015–2017) The Living End announced they finished their seventh studio album in 2015. On 15 March 2016, the band released a song called "Monkey" as a taste of the album. "Monkey" is not the first official single off the album but was played live at the Decades Music Festival in 2015, along with another track called "Death". On 21 March 2016 the band officially announced the new album, Shift with a release date of 13 May 2016, alongside a national tour and the release of the single, "Keep on Running". "Staring Down The Barrel", the final single from the album, was released in October 2016. The song was inspired by Cheney's battles with alcohol. Wunderbar (2018–present) On 22 June 2018, The Living End released a new song, "Don't Lose It". The band played two special pub shows in Sydney and Melbourne to launch the new single. On 10 July 2018, the band officially announced their eighth album, Wunderbar, with a release date of 28 September 2018. Following this announcement, a video was launched for the previously released single "Don't Lose It". The video is a parody of reality talent contests, such as The Voice and Idols, and features cameos from many Australian musicians and personalities, such as Jimmy Barnes, Jane Gazzo, Molly Meldrum, Daryl Braithwaite and Murray Cook. Wunderbar was recorded over a six-week period in February 2018, in Berlin, Germany, with producer Tobias Kuhn. Kuhn was brought on as producer after being recommended by German punk band, Die Toten Hosen. Wunderbar peaked at #3 on the ARIA charts. Musical style and influences The Living End consider themselves to be a rock 'n' roll band based on punk ethics, citing The Clash, Iggy Pop, The Who and The Jam as influences and bands with whom they share the same ideals, making a social commentary on what's going on around them. They have also been compared favorably to 1990s punk revivalists Rancid. However, the band do not consider themselves a punk band, more a rock 'n' roll band who are influenced by punk. Allmusic's Stephen Thomas Erlewine reviewed their debut album, he noted their "sound owes far more to the Ramones than it does to Eddie Cochran, or even the Clash, but they've cleverly appropriated certain rockabilly signatures – most ridiculously, the upright acoustic bass – that give their homage to the golden age of punk a bit of charm". Cheney regards 1950s rock 'n' roll, including Elvis Presley, as his greatest influence and first musical love which, along with 1980s rockabilly revival band Stray Cats, the band's sound was based on. Owen has said that his favourite bands include Stray Cats, Reverend Horton Heat, Midnight Oil, The Clash, The Jam, Green Day, Sublime, Bodyjar, The Brian Setzer Orchestra, Rancid, The Beatles and Supergrass. Owen regards Lee Rocker of Stray Cats as his main performance influence, mimicking the right hand movements of Rocker on the upright bass when he first learnt how to play. As The Runaway Boys the trio had performed 1950s rock revival to "all the jivers and rock 'n' rollers". They also regard Australian pub rock as an important influence on the band, something the members grew up with and appreciated. Other rockabilly influences include Reverend Horton Heat and Eddie Cochran Their rockabilly influences were tempered by exposure to differing forms "[w]e'd support a jazz band one night, and a metal band the following. It helped us a lot". Allmusic's MacKenzie Wilson found that by Roll On the group had grown up "but continue to rampage on with their rowdy punkabilly ... their sophomore effort pulls toward their Aussie rock roots (AC/DC, Rose Tattoo) and a touch of British class for an eager modification". They acknowledge the inspiration of 1970s punk groups and The Sharp. Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict" The Worldwide Home of Australasian Music and More Online website reviewed their early releases, with The Living End described as "anthemic and attitudinous brand of rockabilly-meets-punk (circa Clash not SoCal)"; Roll On had them as "kings of rockapunkerbilly"; for Modern Artillery Cheney's lyrics were lauded with "every time I expect the quality to wane, a new level is reached" and the band itself showed that "Nobody plays nitro-powered punkabilly faster or tighter than this combo and Modern Artillery represents the band's finest hour". However Allmusic's Johnny Loftus found that album showed that the "bawdy gang vocals of 2001's Roll On have been replaced by sculpted multi-tracking ... guitars punch mightily, and the choruses detonate, but they do in colors easily identifiable to a throng of American baby punks with silver safety pins in their mouths". Allmusic's Hal Horowitz found that by State of Emergency the group "takes its Stray Cats strut and Reverend Horton Heat bluster and continues to channel it into a more commercially viable pop/punk sound ... [it] sounds more like a buffed up Jam album, all snappy hooks and impassioned vocals over a rollicking set of songs". Fellow Allmusic reviewer Adam Greenberg found that on White Noise the group "experiments a bit with new sounds but also seems to hang right on the edge of what they had been doing previously". Dave Donnelly opined that the band "have been mining the territory between pop-punk and rockabilly for well over a decade now, and their experience shines through in the slick musicianship" of The Ending Is Just the Beginning Repeating. Amongst other bands, Sum 41 guitarist Dave Baksh has suggested that it would be great if he could tour with The Living End, saying that they're all "really good musicians". Collaborations The Living End have made recordings with many popular bands and artists. In 1998, just as they were gaining popularity in Australia, they performed at "Tour of Duty" for the peace keepers in East Timor. At this, their first live concert to Australians, they performed two tracks from what was their upcoming album, as well as performing with The Angels' frontman Doc Neeson and "Jingle Bell Rock" with Australian pop singer Kylie Minogue. In December 1998, supporting the German band Die Toten Hosen they played a cover of Slade's "Merry Christmas" with them on 26 December 1998 in Düsseldorf, as part of Die Toten Hosen's 1998 Christmas tour of Germany. The two bands met on the 1998 inaugural Warped Tour of Australia, New Zealand, Japan and Hawaii. In early 2001 The Living End performed as the support act for AC/DC during the Australian leg of their Stiff Upper Lip world tour. For their 2000 release, How It Works, Cheney performed backing vocals on Bodyjar's song "Halfway Around The World". Lead singer and guitarist Chris Cheney was also a member of the "super group" The Wrights who released covers of Stevie Wright's songs, "Evie Parts 1, 2 & 3" after performing "Evie Part 1" at the 2004 Australian Music Industry's ARIA Music Awards. Cheney also played guitar and contributed backing vocals to "Private School Kid" on Sarah McLeod's (formerly of The Superjesus) debut solo album. Cheney appeared as a guest guitarist on Stephen Cummings Firecracker album. The Living End performed alongside Normie Rowe performing two of Normie's hits "Que Sera Sera" and "Shakin' All Over" at the 2005 ARIA Hall of Fame. In 2005, the band recorded a version of Ashton, Gardner and Dyke's "Resurrection Shuffle" with Jimmy Barnes on his duet album Double Happiness. The Living End also appeared on Australian country and western music artist Kasey Chambers' album Barricades & Brickwalls, contributing the music and backing vocals to "Crossfire". On Australian band Jet's live DVD, Right Right Right, Chris Cheney appears at the end of the recorded concert to feature on a cover of Elvis Presley's "That's Alright Mamma". Chris Cheney also played "I Fought the Law" with Green Day at their Melbourne concert on 17 December 2005. Double bassist Scott Owen appeared on Australian legend Paul Kelly's Foggy Highway album, playing bass on "Song of the Old Rake". Scott also appeared in the film clip for the track. Cheney was the guest guitarist on the song, "Something More", which appears on the album, Lose Your Delusion, by Melbourne duo Over-reactor. Cheney will also feature on Grinspoon's seventh studio album playing a guitar solo. The Living End have also featured on Jimmy Barnes' album, 30:30 Hindsight, which was released in 2014, where they covered "Lay Down Your Guns". The song was then released as a music video to assist in the promotion of the album. In 2017, Chris Cheney featured on the Luke Yeoward's album Ghosts, with vocals and guitar contribution to the song "Whose Side Are You On?" Members Current Chris Cheney – lead guitar, lead vocals (1994–present) Scott Owen – double bass, bass guitar, backing vocals (1994–present) Andy Strachan – drums, backing vocals (2002–present) Live/touring members Adrian Lombardi – rhythm guitar, backing vocals (2011–2013, 2017) Former Joe Piripitzi – drums (1994–1996) Travis Demsey – drums (1996–2002) Timeline Discography Studio albums The Living End (1998) Roll On (2000) Modern Artillery (2003) State of Emergency (2006) White Noise (2008) The Ending Is Just the Beginning Repeating (2011) Shift (2016) Wunderbar (2018) Awards and nominations They hold the record for the most consecutive entries in Triple J's Hottest 100. The band made the chart every year between 1997 and 2006. The band won a total of nine awards at the Jack Awards – for Australian live music – from the first ceremony in 2004 to the final one in 2007. They have won more than any other artist as a whole and individually for 2006 and 2005 (2005 was actually a tie with Grinspoon on two awards). Of these, three awards for Best Guitarist (Cheney), one award for Best Live Male Performer (Cheney), two awards for Best Bassist (Owen), one award for Best Drummer (Strachan), one award for Best Live Band, and one award for Best Live Performance (on Channel V). In July 2009, Prisoner of Society was voted number 34 by the Australian public in "Triple J Hottest 100 of All Time". In July 2011, the band's self-titled album, The Living End, was voted number 4 by the Australian public in "Triple J Hottest 100 Australian Albums of All Time". APRA Awards The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA). \|- \| 2009 \|\| "White Noise" – Chris Cheney \|\| Song of the Year \|\| \|- \|rowspan="3"\| 2010 \|\| "Raise the Alarm" – Chris Cheney \|\| Most Played Australian Work \|\| \|- \| "Raise the Alarm" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| "White Noise" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| 2020 \|\| "Otherside" - Chris Cheney, Scott Owen, Andy Strachan, Tobias Kuhn \|\| Most Performed Rock Work of the Year \|\| \|- ARIA Music Awards The ARIA Music Awards are an annual series presented by Australian Recording Industry Association (ARIA) since 1987, which recognise excellence, innovation, and achievement across all genres of Australian music. The Living End have won a total of six awards from thirty nominations. Video games "End of the World" was featured in Tony Hawk's Underground 2, a skateboarding video game. "Carry Me Home" was featured in the video game Guitar Hero II as a playable song using the guitar peripheral. "West End Riot" was featured in the video game World of Outlaws: Sprint Cars 2002 in the opening film clip. "Prisoner of Society" was featured in the video game Guitar Hero: World Tour as a playable song, as well as in the Guitar Hero: World Tour meme 'Bike Hero'. The song was included in a 19 December 2008 DLC release for the Xbox 360 karaoke video game Lips. It was also featured in the game Supercross 2000 by Electronic Arts, along with their track "I Want a Day." See also References External links Official website Adeline Records artists APRA Award winners ARIA Award winners Australian punk rock groups Dine Alone Records artists Dew Process artists Musical groups from Melbourne Australian musical trios Psychobilly groups Pub rock musical groups	true	[ "The Land Before Time XI: Invasion of the Tinysauruses is a 2005 direct-to-video animated film and the 11th film in [[The Land Before Time (franchise)\|The Land Before Time series]]. It was released on January 11, 2005, by Universal Studios Home Video.\n\n Plot \n\nEvery year, as the warm season approaches, a certain tree in Great Valley blooms with pink flowers. These \"treesweets\" are viewed as a delicacy by the dinosaurs of the valley, and as such everyone wants their fair share of it. However, because of the tastiness of the tree sweets, and due to the fact that there seems to only be one such tree in the entire valley, there is hardly enough for every dinosaur. Because of this, none of them may eat the treesweets until the day when they reach the \"peak of their tastiness\".\n\nLittlefoot and his friends Ducky, Petrie and Spike are eagerly waiting to eat the first treesweets of the season. Ducky is about to take one, but Littlefoot quickly tells her to stop. He reminds them all that none may take any treesweets until \"Nibbling Day\". This, however, does not stop Petrie from flying to the tree's crown to attempt to take a treesweet. Just then, Mr. 3-horn, Cera's father, emerges and states clearly how every dinosaur in the valley has waited all year to taste the treesweets. As Cera appears before them, she boastfully reminds the group that she is the one who is supposed to eat the first treesweet, having to be the one who found the treesweet-tree in the first place, although it was Littlefoot who first found it. Cera also teases Littlefoot for being too little to reach the treesweets, making him offended.\n\nMeanwhile, Cera's father is visited by an old friend, a pink female threehorn named Tria. Cera's father, whom Tria calls Topsy, promises Tria the first treesweet of the season, which Cera becomes vainly jealous about. From this moment on, Cera refuses to make friends with Tria and simply shrugs her off whenever Tria attempts to talk to her. In addition, Cera turns violent toward her friends when they make any references involving Tria or her father's nickname. \n\nLittlefoot wanders off by himself, feeling down and sulky about how \"little\" he is. As he returns to the treesweet tree, he climbs the cliff next to it and tries to prove that he can reach the treesweets himself. As he does, he accidentally slips off the cliff, falls right through the tree, and knocks down every single treesweet. Realizing the trouble that he is now in, Littlefoot faints in dismay. When he wakes up, he finds himself surrounded by several miniature longnecks. They have eaten all the treesweets and quickly run away once the shocked Littlefoot starts screaming in fear.\n\nUpon noticing that every treesweet is gone, the other dinosaurs suspect that Littlefoot is responsible. Afraid to admit that he made the treesweets fall off the tree under Mr. 3-horn’s threat of being banished from the valley, Littlefoot makes a parish truth, blaming most of everything on the miniature longnecks. At first, everyone laughs at him in disbelief, but when they find teeth marks on an eaten tree sweet that are too small for Littlefoot to have made, he is believed and everyone begins to look for the tiny longnecks, thinking them as pest and preparing to drive them out of the valley. \n\nAs Littlefoot and Cera search the valley, Littlefoot falls down a pothole in the ground where, it turns out, the miniature longnecks are hiding. At first, Littlefoot is afraid of them and flees deeper into the cave, but he soon finds them to actually be nice and befriends the miniature longnecks. Upon hearing how difficult it is for the miniature longnecks to find food, Littlefoot promises to help bring them as much food as he can every night. This results him to be sleepy in the day although. \n\nEventually, Littlefoot's friends find him while he is bringing food to the miniature longnecks. They also fall in the pothole, and upon meeting the tiny dinosaurs agree not to tell the adults. Even Cera, who is still angry with her father, promises to keep it a secret, mainly because she finds out she can relate to them more than they would have imagined. Many of the miniature longnecks, including Lizzie, in the colony feel that their leader, Big Daddy, bosses them around too much, though he simply is looking out for them. To Big Daddy, the larger dinosaurs of the Great Valley only seem to think that \"because they're bigger, it makes them seem more important.\" Due to this, he does not trust the other dinosaurs. By morning, Cera finally decides to be friends with Tria. \n\nWhen sneaking off to see the miniature longnecks the following night, Littlefoot and his friends are busted by Mr. 3-horn. When he tries to ask them where they're going this time of night, Cera angrily throws the question back at him. He tells the children that it is the miniature longnecks which they have to worry about, then warns them to not let him catch them out late at night again, and sends them home. Afterwards, he meets up with Tria and they spot one of the miniature longnecks, Lizzie and Skitter. A chase ensues that ends when Mr. 3-horn and Tria finds the miniature longneck colony. As the grown-ups prepare to block the caverns, Littlefoot, realizing what he must do, admits the full truth that he first caused the treesweets to fall from the tree and didn’t mean to. \nHowever, just as he is finished admitting his accident with the adults forgiving him and finally leaving the little creatures alone, the miniature longnecks' cave collapses, trapping them inside. \n\nThe tinysauruses escape into the Mysterious Beyond, where they encounter two large Achillobators who chase them back into the Great Valley. Upon hearing that Littlefoot initially blamed everything on the miniature longnecks, Littlefoot's friends become upset and turn their backs on him, not wanting to talk with him. Angry at his friends' rejection of him, Littlefoot leaves and decides to set things right on his own. Meanwhile, Cera apologies to Tria about her father being hard on her when she tried to stop him from hunting the little creatures down. \n\nAfter a tragic mistake, Petrie, Ducky, and Spike feel remorseful for what they've done and begin to sob over the loss of their friend. With Cera’s help, they all try to find Littlefoot and apologize for being hard on him; however, they mistake the sharpteeth for Littlefoot. The two carnivores lunge at them, chasing them through the Great Valley. Just as Ducky is about to be eaten, Littlefoot shows up and saves her. Mr. 3-horn and Tria show up to the battle. When all seems lost, the miniature longnecks come to the children's aid and fight the carnivores. The grown-ups of the valley eventually reach the group and drive the sharpteeth back into the Mysterious Beyond through the same hole, which they cover up with a large boulder to prevent them from coming back. \n\nAfter everything is sorted out and friendships are repaired, the miniature longnecks even become resistants to the valley. Nibbling Day finally comes at last, and Littlefoot is able to reach the treesweets by himself after all, with his grandpa noting how he’d grown, especially with his courage on how he stood up for the tinysauruses. And everybody learns the valve of honesty, and how even small things can make a big difference.\n\n Voice cast \n\n Aaron Spann as Littlefoot \n Anndi McAfee as Cera/Diplodocus Aria Curzon as Ducky\n Jeff Bennett as Petrie\n Rob Paulsen as Spike/Kosh\n Leigh Kelly as Skitter\n Cree Summer as Lizzie/Bonehead\n Nika Futterman as Rocky\n Ashley Rose Orr as Dusty\n Michael Clarke Duncan as Big Daddy\n Kenneth Mars as Grandpa Longneck/Longneck Miriam Flynn as Grandma Longneck\n John Ingle as Narrator/Topsy\n Camryn Manheim as Tria\n Tress MacNeille as Mama Swimmer/Petrie's mother\n\n Music \n\nThe music score was composed by Michael Tavera. Some of his arrangements of James Horner's original themes from the first film can still be heard in two shots of the film (one where Ducky, Petrie, and Spike tell Littlefoot why they are mad at him and the other where the Sharpteeth come out of a cave), though Horner was uncredited in this film. This was the last time that Tavera's arrangements of Horner's themes would be heard in a Land Before Time film, as Horner died in a plane crash on June 22, 2015. Tavera's older themes from previous sequels can also be heard in other scenes from the film.\n\nThe music that plays in the background when Topsy catches Petrie trying to get one of the blossoms is the booby trap sliding scene music from An American Tail: The Treasure of Manhattan Island.\n\n Release \n\n January 11, 2005 - VHS & DVD, the last Land Before Time'' film ever released on VHS\n September 19, 2006 - DVD – 2 Tales of Discovery and Friendship\n August 5, 2008 - Carrying Case DVD with Fun Activity Book – 2 Tales of Discovery and Friendship – Universal Watch on the Go\n\nReception\n\nThe Land Before Time XI: Invasion of the Tinysauruses is considered by many critics and fans to be among the worst in the series alongside The Land Before Time XIII: The Wisdom of Friends, with many citing a confusing storyline and poorly-written songs.\n\nReferences\n\nExternal links \n\n \n \n\n2005 films\n2005 animated films\n2005 direct-to-video films\n2000s American animated films\nAmerican films\nAmerican sequel films\nDirect-to-video sequel films\nThe Land Before Time\nEnglish-language films\nFilms scored by Michael Tavera\nUniversal Animation Studios animated films\nUniversal Pictures direct-to-video animated films\nAnimated films about dinosaurs\n2000s children's animated films", "The Land Before Time X: The Great Longneck Migration is a 2003 direct-to-video animated adventure musical drama film and the tenth film in the Land Before Time series.\n\nPlot \n\nLittlefoot has an ominous \"sleep story\" (dream) where he sees the \"Great Circle\" (the sun) falling out of the sky, and when he mentions it to his grandparents, they reveal they are sharing the same experience, with his grandpa lamenting that they need to go somewhere. Led only by their instinct, they leave the next day. Out of curiosity, Cera, Spike, Ducky, and Petrie follow them. During their trek, Littlefoot is nearly eaten by a Sarcosuchus while playing in a swamp, but a Supersaurus named Sue saves his life by stepping on the predator and joins him and his grandparents, as she is driven on by the same sense as them. They are soon joined by dozens of other Longnecks feeling the same instincts. Meanwhile, Littlefoot's friends are attacked by the Sarcosuchus in the same swamp that Littlefoot and his grandparents passed through, but they manage to escape. That night, they sleep next to what appears to be a large boulder. The next morning, they discover that the \"boulder\" was a sleeping gray Daspletosaurus, which wakes up and chases them. They escape into a small cave and meet Pat, an elderly Apatosaurus.\n\nLittlefoot, his grandparents, and Sue reach a large crater where hundreds of Longnecks have gathered. There, he meets his long-lost father, Bron, for the first time. Bron tells Littelfoot how he was separated from Littlefoot's mother during the great earthshake in the first film. During his wanderings in search of Littlefoot, Bron became the leader of a herd of longnecks and the guardian to a young, mischievous Brachiosaurus, Shorty, who becomes jealous of Littlefoot taking all of his father's attention. Meanwhile, Pat tells Littlefoot's friends that the Longnecks are being driven by a tradition involving a solar eclipse, which was taken as a sign that the sun will be sent crashing down into the Earth by the \"Night Circle\" (the moon). Every solar eclipse, Longnecks from all around the world gather in one location to stretch their necks up and \"catch\" the sun, so they can propel it back up into the sky. Soon after, Pat steps into a pool of lava, which burns his leg badly, but he is still able to move as they escape the lava field.\n\nOn the day of the eclipse, Littlefoot wakes up to see Shorty traveling over the crater walls and running away, out of spite for being ignored by Bron. He catches up to Shorty and convinces him to stay; the two reconcile and agree to see themselves as brothers. Moments later, Littlefoot's friends appear, with a brown Daspletosaurus pursuing them. Pat defends the children but is slowed down by his burned leg. Bron rushes to their aid and is able to temporarily knock out the brown Sharptooth. Then the gray Daspletosaurus and a green third Daspletosaurus arrive. Littlefoot's grandparents join in the fight and defeat the green Sharptooth. Bron fights the brown Sharptooth again while Pat fights the gray one. As soon as all three Sharpteeth are defeated, the eclipse begins, and the sudden darkness scares away the Sharpteeth towards the end.\n\nLittlefoot, his grandparents, Bron, Shorty, Sue, and Pat take their place among the other Longnecks, who have all gathered on top of the crater walls. They succeed in \"catching\" the sun, and everyone rejoices as the eclipse ends. With their mission completed, the different Longneck herds depart on their separate ways. Sue departs with an Ultrasaurus. Littlefoot's friends ask Pat to come live with them in the Great Valley, which he accepts. Littlefoot is initially hesitant in leaving Bron, as he is the leader of a migratory herd, but he eventually realizes that he belongs in the Great Valley. Accepting this, Bron leaves with Shorty and his herd, promising to keep in touch with Littlefoot and visit him. Littlefoot returns to the Valley with his friends, grandparents, and Pat.\n\nVoice cast \n\n Alec Medlock as Littlefoot\n Kiefer Sutherland as Bron\n Kenneth Mars as Grandpa Longneck\n Miriam Flynn as Grandma Longneck\n Aria Curzon as Ducky\n Jeff Bennett as Petrie\n Rob Paulsen as Spike\n Anndi McAfee as Cera\n Brandon Michael DePaul as Shorty\n James Garner as Pat\n Bernadette Peters as Sue\n John Ingle as Narrator/Topsy\n\nProduction \n\nThe film is known internationally as \"The Great Migration\", rather than \"The Great Longneck Migration\". It was the first film in the series to use fully computer-generated dinosaurs.\n\nAspect ratio \nEven though this film was presented in full screen on DVD worldwide (since that is what aspect ratio the film was created in), the film is matted to anamorphic widescreen (cropping the top and bottom of the image) on a Hebrew DVD in Israel.\n\nMarketing\nThe film was the subject of a massive marketing push for Universal. Prior to the release of Journey to Big Water, Universal orchestrated a yearlong 15th anniversary promotion between the release of the 9th and 10th entries including DVD re-releases of previous franchise entries, “Land Before Time” events at Universal theme parks, introduce merchandise like a “Land Before Time” ear thermometer and create a club named after lead character Littlefoot with newsletters and activities.\n\nMusic \n\nThe music was scored by Michael Tavera with additional music composed by Stephen Coleman. This was the first film in the series that did not use James Horner's original score.\n\nRelease \n\n December 2, 2003 (VHS and DVD)\n September 19, 2006 (DVD - 2 Tales of Discovery and Friendship)\n August 5, 2008 (Carrying Case DVD with Fun Activity Book - 2 Tales of Discovery and Friendship - Universal Watch on the Go)\n\nReception \n\nThe Great Longneck Migration received nominations for \"Best Animated DVD Premiere Movie\" and \"Best Original Song\" at the 2003 DVD Exclusive Awards, losing to 101 Dalmatians II: Patch's London Adventure and Run Ronnie Run!, respectively.\n\nSee also \n List of films featuring eclipses\n\nReferences\n\nExternal links \n \n \n\n2003 direct-to-video films\nDirect-to-video sequel films\nThe Land Before Time\n2003 animated films\n2003 films\nFilms directed by Charles Grosvenor\nFilms scored by Michael Tavera\nUniversal Animation Studios animated films\nUniversal Pictures direct-to-video animated films\nAmerican films\n2000s American animated films\nFilms about volcanoes\nAnimated films about dinosaurs\n2000s children's animated films\nAnimated films about friendship" ]
[ "The Living End", "The Longnecks to Modern ARTillery (2002-2005)", "What is The Longnecks?", "The Living End developed a side project, The Longnecks," ]	C_58dfb949fb84497aa3cc8f32549381b6_0	What was involved with this side project?	2	What was involved with The Longnecks?	The Living End	In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboard's Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboard's Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997-2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. CANNOTANSWER	to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention.	The Living End are an Australian punk rockabilly band from Melbourne, formed in 1994. Since 2002, the line-up consists of Chris Cheney (vocals, guitar), Scott Owen (double bass, vocals), and Andy Strachan (drums). The band rose to fame in 1997 after the release of their EP Second Solution / Prisoner of Society, which peaked at No. 4 on the Australian ARIA Singles Chart. They have released eight studio albums, two of which reached the No. 1 spot on the ARIA Albums Chart: The Living End (October 1998) and State of Emergency (February 2006). They have also achieved chart success in the U.S. and the United Kingdom. The Band was nominated 27 times and won five awards at the Australian ARIA Music Awards ceremonies: "Highest Selling Single" for Second Solution / Prisoner of Society (1998), "Breakthrough Artist – Album" and "Best Group" for The Living End (1999), as well as "Best Rock Album" for White Noise (2008) and The Ending Is Just the Beginning Repeating (2011). In October 2010, their debut album was listed in the book "100 Best Australian Albums". Australian musicologist Ian McFarlane described the group as "one of Australia’s premier rock acts. By blending a range of styles (punk, rockabilly and flat out rock) with great success, The Living End has managed to produce anthemic choruses and memorable songs in abundance". History Beginnings (1994–1996) The Living End were formed in 1994 by Chris Cheney and Scott Owen, who had met years earlier in primary school through their older sisters and began performing together from 1990 while attending Wheelers Hill Secondary College in Melbourne. Cheney and Owen had their first public gig at The Rob Roy in Melbourne in 1991. Cheney was a fan of rockabilly group Stray Cats and this prompted Owen, who originally played piano, to switch to double bass. The pair formed a cover band, The Runaway Boys, which performed Stray Cats and The Clash material. That group were named after a track, of the same name, from the Stray Cats self-titled debut album (February 1981). The Runaway Boys initially played in the local rockabilly music scene but expanded their audience by performing in regional towns and backing popular Melbourne cover band Mercury Blue at the Wheelers Hill Hotel/Pub. Cheney later recalled "[w]e played to all the jivers and rock 'n' rollers ... And we slowly drifted into Melbourne's rockabilly scene". As Cheney and Owen persevered, the band went through several drummers, while they were still attending school. By 1994, Cheney and Owen were writing their own material and decided to change the band's name to The Living End – a reference to the film, Rock Around the Clock (1956). According to Cheney "It's an old '50s term, meaning 'far out', 'the greatest' ... We were still into the whole '50s thing, but we wanted a neutral name, one that didn't suggest any one style of music". With Cheney on lead guitar and lead vocals, and Owen on double bass and backing vocals, the group settled on Joe Piripitzi as their drummer. Cheney considered Piripitzi to be ideal due to his charismatic appearance. During that year they recorded a track, "Headlines", which had been co-written by Cheney and Owen. The group sent a T-shirt and demo tape to Green Day guitarist and lead vocalist, Billie Joe Armstrong, and landed a support slot for Green Day's 1995 Australian tour. After that tour, The Living End recorded additional tracks for their debut extended play, Hellbound, which received moderate support from community radio stations. It was produced by the group and included "Headlines" from the previous year. Ed Nimmervoll, an Australian musicologist, described the EP's sound: "they turned their back on '50s rock revivalism and adapted that instrumentation to original songs steeped in UK punk". In November 1995, the trio recorded their second EP, It's for Your Own Good, which appeared in the following June. The six-track EP was co-produced by Lindsay Gravina (Underground Lovers, Cosmic Psychos), Mike Alonso (Jericho) and The Living End for the Rapido label. It included their first radio airplay hit, "From Here on In", which was placed on high rotation by national youth radio network, Triple J. Shortly after, Piripitzi was fired as his lifestyle choices were holding back the band. He was replaced on drums by Travis Demsey (later in The Knockout Drops). With Demsey the group appeared at major festivals: Pushover and the Falls Festival. Demsey's drum style was compared with The Who's Keith Moon. "From Here on In" was used on the soundtrack for the 1998 film, Occasional Course Language. Breakout single to debut album (1997–1999) The Living End toured Australia for a year, then in August 1997 they recorded new material to sell at their live shows. Their double A-sided single, "Second Solution" / "Prisoner of Society", was issued in January the following year. Also that month they had supported The Offspring on the Australian leg of their tour. "Second Solution" / "Prisoner of Society" peaked at No. 4 on the ARIA Singles Chart, and was certified double-platinum by ARIA for shipment of 140,000 copies. At the ARIA Music Awards of 1998 it won the Highest Selling Single category; and eventually became the highest selling Australian single of the 1990s. It lasted a record-breaking 47 weeks in the Top 50. In October 1998 it peaked at No. 28 on the New Zealand Singles Chart. It was later featured in the game, Guitar Hero World Tour. "Second Solution" was used in the soundtrack for the 2002 movie, Cheats, which starred Trevor Fehrman, Matthew Lawrence, and Mary Tyler Moore. Early in 1998 "Prisoner of Society" was issued as a separate single in the United Kingdom and, the following year, in the US. The single appeared in the top 200 of the UK Singles Chart, and peaked at No. 23 on the Billboards Alternative Songs Chart. The band signed with Modular Recordings for the release of their debut self-titled album, which appeared on 12 October 1998, and was co-produced by Gravina with the trio. It peaked at No. 1 on the ARIA Albums Chart, became the then-second highest-selling debut rock album in Australian music history and, by 1999, was certified 4x Platinum for shipment of 280,000 units. Their next Australian single, "Save the Day", was issued in September 1998, a month ahead of the album. It made the top 30 on the ARIA Singles Chart. It became their highest charting hit on the New Zealand Singles Chart, where it reached No. 10. From the album, a total of six singles were released including a live cover version of "Tainted Love", which was issued as a radio-only single on Triple J. At the ARIA Music Awards of 1999, The Living End won two more awards: Best Group and Breakthrough Artist – Album. At the ceremony they were also nominated for Album of the Year and Highest Selling Album. In October 2010 their debut album was listed in the book 100 Best Australian Albums. Roll On (2000–2001) The Living End's second album, Roll On, was recorded during July 2000 with Nick Launay (Midnight Oil, Models, Silverchair) producing and appeared in November that year. It peaked at No. 8 on the ARIA Albums Chart and reached the top 40 in New Zealand. Although Roll On was a more creative work, Nimmervoll mentioned that they had "broadened their musical scope while keeping in tact [sic] what made them unique - the instrumentation and the socially-aware lyrics". The album did not achieve the status of their earlier album as it was certified platinum for shipment of 70,000 copies. Despite this, fans consider it to be as strong as the self-titled album; "[it's] an absolute scorcher! That's what years of live honing can do for a band that was already white-hot". Cheney later stated that he was trying to prove to critics that The Living End were not a band simply defined by their hit, "Prisoner of Society", and the album showed this by displaying other influences, as well as their traditional fast-paced rockabilly music. Rolling Stone Jenny Eiscu compared it to The Clash's creative breakthrough, London Calling (December 1979), as they "stomp all over the boundaries between punk, reggae, rockabilly and plain old rock & roll – and it still sounds like a revelation, twenty-two years after [T]he Clash did it. The pupils don't quite outpace the masters here ... But the band is obviously having such a riotously good time that you'd be a sucker not to stomp your foot and join the party". Much of the style was comparable to 1980s hard rock and pub rock, as well as many tracks being obscure mixes of many ideas, resulting in 'procrastinating' structures. This defined the album's creativity. The album's first two singles, "Pictures in the Mirror" and the title track, peaked into the top 20 on the ARIA Singles Chart. "Pictures in the Mirror" also reached the top 20 in New Zealand, while "Roll On" peaked at No. 33 on the Billboard Alternative Songs Chart, and appeared in the top 150 of the UK Singles Chart. In March 2001 Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict". The trio received US-wide coverage by playing on both Conan O'Brien's and David Letterman's late-night variety shows. The album included "Carry me Home", which appeared on the Guitar Hero II soundtrack. However, touring in support of Roll On and the related singles was halted after Cheney had a car accident on the Great Ocean Road, rendering him unable to play for a significant period of time: he was "hospitalised for 2 months". He had been on travelling to the house of a member of fellow Australian band and tour mates, Bodyjar. The Longnecks to Modern ARTillery (2002–2005) In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboards Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboards Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997–2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. State of Emergency (2005–2007) The Living End's fourth studio album, State of Emergency, was recorded in Byron Bay with Launay producing, following the band's appearance at Splendour in the Grass. The recording and the artwork was completed in mid-December 2005, and the album was released on 4 February the following year. The Living End had again played gigs as The Longnecks, before recording the album, to test out the new material. It peaked at No. 1 on the ARIA Albums Chart in its first week, it reached top 40 in New Zealand, and on Billboards Alternative Songs Chart. The lead single, "What's on Your Radio?", had been issued in November 2005, and reached No. 9 on the ARIA Singles Chart. The second single, "Wake Up", was released in February just after the album and reached No. 5. It became their highest charting single in New Zealand where it peaked at No. 12. The third single, "Long Live the Weekend", was released in May, and appeared in the top 30 in Australia. The fourth single, "Nothing Lasts Forever", was released in August and also reached the top 40. The album was nominated for the 2006 J Award. The album was issued in the US through Green Day's Armstrong's Adeline Records along with Eastwest Records on 11 July 2006 and in Canada a week later. Another release in support of the album was the DVD, Live at Festival Hall, on 30 September, which captured a Melbourne performance during the State of Emergency Tour, and featured many songs from the album, and earlier tracks. On 20 June 2006 the band received four Jack Awards: Best Live Band, Best Live TV Performance, Best Performer (Cheney) and Best Drummer (Strachan). Thereby the group achieved the most awards in a year and, at eight overall, the most by any artist. During the 2006 State of Emergency tour, the Living End's show in Milwaukee was cancelled, so it was rescheduled on 2 December as a support act for +44. On 6 October Cheney left the band because he felt burnt out, he was sick of the constant touring, as well as experiencing writer's block. Cheney felt that he needed to get away from the band and develop other aspects of his life. This information was kept confidential until 2008. Early in 2007 Cheney had isolated himself from his bandmates while trying to write tracks for a follow-up to State of Emergency. He was disappointed with the results so he took up yoga, spent time painting and being around his baby daughter whilst taking a break from music for the first time in 10 years. During this period the band released a radio-only single, a cover version of Cold Chisel's "Rising Sun", available on the Standing on the Outside (March 2007), a Cold Chisel tribute album by various Australian artists. After Cheney overcame his writer's block and was convinced not to leave the band, the group played The Great Escape in April 2007 and restarted work on their fifth studio album. They toured the UK in August that year, releasing State of Emergency there on 13 August through Deck Cheese Records. White Noise (2008–2009) The Living End released their fifth studio album, White Noise, on 19 July 2008. The trio had performed at The Ages Entertainment Guide's EG Awards in Melbourne in December 2007. Two new songs had been premiered, "Raise the Alarm" and "How Do We Know". During February the following year they played gigs as The Longnecks to test out more new material prior to recording. The gigs were described by Cheney as the most exciting of their career, "there is a heaviness and depth to the new stuff that we simply haven't had before". Pre-production for the album took place at Studio One in Collingwood, Melbourne with producer Kalju Tonuma. This included various co-writes including the track "Sum of Us". After the sonic blueprint of the album was established, producer John Agnello (Sonic Youth, The Hold Steady) was engaged to commence recording at Water Music Studios in Hoboken, New Jersey, for their new label, Dew Process, on the week beginning 31 March. Cheney felt Agnello "[could] capture the energy and attack we are after". Brendan O'Brien mixed the record at Silent Sound Studios in Atlanta, Georgia. The Ages Andrew Murfett declared they "have never been able to convey the energy and power of their live shows on record ... [this album] is fresh, diverse and relatively honest, and TLE suddenly got a lot more interesting". White Noise peaked at No. 2 on the ARIA Albums Chart in its first week, it reached No. 18 in New Zealand – becoming their highest charting album there. In support of the album, they made TV appearances, including a performance on 5 October at the 2008 NRL Grand Final at ANZ Stadium. At the ARIA Music Awards of 2008, White Noise was awarded the Best Rock Album, over efforts from Gyroscope and Faker. The first single issued from the album included the title track. Another song, "How Do We Know", was simultaneously released as a radio-only track on Triple J, and was heard on other radio stations, such as Nova 969. The tracks formed a double A-sided single, which was issued both physically and digitally in July 2008. It reached No. 12 on the ARIA Singles Chart, and top 30 in New Zealand. White Noise had almost a year-and-a-half of writing behind it, showing "more of a hard rock influence" and the group declared it's "the best thing we've ever done". In September that year a second single, "Moment in the Sun", was released to Australian radio; it was physically and digitally released a month later. In December "Raise the Alarm" was released to radio as the third single. A music video had been issued containing footage of live performances during the White Noise Tour and some others. In February 2009 the band made a secret appearance in Melbourne supporting the Stray Cats on their Farewell Tour. In May The Living End started the Raise the Alarm Tour. The Ending Is Just the Beginning Repeating (2010–2015) During September and October 2010 The Living End performed under another alias, Safety Matches, testing new material, similar to the previous usage of The Longnecks, for their sixth album, The Ending Is Just The Beginning Repeating. The tracks vetted included "United", "Universe", "Away from the City" (then-titled "Black and White"), the title track, "Resist" and "Heatwave". In the January 2011 edition of The Living End's News, Cheney revealed "[h]aving spent all of 2010 writing album 6 we have amassed something in the vicinity of 40+ songs to choose from... There are some really different ideas kicking around this time but the emphasis has been on creating a cohesive album that is heavy, melodic and overall very anthemic". The title track was premiered as the lead single in early June 2011 on national radio stations. The album appeared on 22 July that year, it was produced by Nick DiDia (Powderfinger). On 17 July Triple J played tracks from the album with further tracks played through the week prior to its release. The Living End also allowed fans on their mailing list a 24-hour stream of the record on 18 July. Fans could listen as many times as they wanted and were able to comment on the stream. In support of the album a live stream of a performance occurred on YouTube on 19 July. This featured an additional guitarist as well as Cheney playing rhythm guitar. From 2011 the band has employed Adrian Lombardi (ex-Mid Youth Crisis, Blueline Medic) on stage as their second guitarist. In July 2012 Cheney announced on Triple J that throughout November and December of that year, as part of The Retrospective Tour, they would perform each of their six studio albums over a week, in each of five Australian state capitals (Perth, Adelaide, Sydney, Brisbane and Melbourne). The Living End played in the UK and Germany throughout August and September 2013, and headlined at the Summernats 27 in Canberra in 2014. The Living End also played at the 2014 Soundwave Festival in Australia as a replacement for Stone Temple Pilots who had to pull out due to scheduling conflicts with the recording of their next album. The Living End supported Cold Chisel in their One Night Stand tour, with shows at Townsville, Darwin, Perth, Macedon Ranges and Sydney. Shift (2015–2017) The Living End announced they finished their seventh studio album in 2015. On 15 March 2016, the band released a song called "Monkey" as a taste of the album. "Monkey" is not the first official single off the album but was played live at the Decades Music Festival in 2015, along with another track called "Death". On 21 March 2016 the band officially announced the new album, Shift with a release date of 13 May 2016, alongside a national tour and the release of the single, "Keep on Running". "Staring Down The Barrel", the final single from the album, was released in October 2016. The song was inspired by Cheney's battles with alcohol. Wunderbar (2018–present) On 22 June 2018, The Living End released a new song, "Don't Lose It". The band played two special pub shows in Sydney and Melbourne to launch the new single. On 10 July 2018, the band officially announced their eighth album, Wunderbar, with a release date of 28 September 2018. Following this announcement, a video was launched for the previously released single "Don't Lose It". The video is a parody of reality talent contests, such as The Voice and Idols, and features cameos from many Australian musicians and personalities, such as Jimmy Barnes, Jane Gazzo, Molly Meldrum, Daryl Braithwaite and Murray Cook. Wunderbar was recorded over a six-week period in February 2018, in Berlin, Germany, with producer Tobias Kuhn. Kuhn was brought on as producer after being recommended by German punk band, Die Toten Hosen. Wunderbar peaked at #3 on the ARIA charts. Musical style and influences The Living End consider themselves to be a rock 'n' roll band based on punk ethics, citing The Clash, Iggy Pop, The Who and The Jam as influences and bands with whom they share the same ideals, making a social commentary on what's going on around them. They have also been compared favorably to 1990s punk revivalists Rancid. However, the band do not consider themselves a punk band, more a rock 'n' roll band who are influenced by punk. Allmusic's Stephen Thomas Erlewine reviewed their debut album, he noted their "sound owes far more to the Ramones than it does to Eddie Cochran, or even the Clash, but they've cleverly appropriated certain rockabilly signatures – most ridiculously, the upright acoustic bass – that give their homage to the golden age of punk a bit of charm". Cheney regards 1950s rock 'n' roll, including Elvis Presley, as his greatest influence and first musical love which, along with 1980s rockabilly revival band Stray Cats, the band's sound was based on. Owen has said that his favourite bands include Stray Cats, Reverend Horton Heat, Midnight Oil, The Clash, The Jam, Green Day, Sublime, Bodyjar, The Brian Setzer Orchestra, Rancid, The Beatles and Supergrass. Owen regards Lee Rocker of Stray Cats as his main performance influence, mimicking the right hand movements of Rocker on the upright bass when he first learnt how to play. As The Runaway Boys the trio had performed 1950s rock revival to "all the jivers and rock 'n' rollers". They also regard Australian pub rock as an important influence on the band, something the members grew up with and appreciated. Other rockabilly influences include Reverend Horton Heat and Eddie Cochran Their rockabilly influences were tempered by exposure to differing forms "[w]e'd support a jazz band one night, and a metal band the following. It helped us a lot". Allmusic's MacKenzie Wilson found that by Roll On the group had grown up "but continue to rampage on with their rowdy punkabilly ... their sophomore effort pulls toward their Aussie rock roots (AC/DC, Rose Tattoo) and a touch of British class for an eager modification". They acknowledge the inspiration of 1970s punk groups and The Sharp. Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict" The Worldwide Home of Australasian Music and More Online website reviewed their early releases, with The Living End described as "anthemic and attitudinous brand of rockabilly-meets-punk (circa Clash not SoCal)"; Roll On had them as "kings of rockapunkerbilly"; for Modern Artillery Cheney's lyrics were lauded with "every time I expect the quality to wane, a new level is reached" and the band itself showed that "Nobody plays nitro-powered punkabilly faster or tighter than this combo and Modern Artillery represents the band's finest hour". However Allmusic's Johnny Loftus found that album showed that the "bawdy gang vocals of 2001's Roll On have been replaced by sculpted multi-tracking ... guitars punch mightily, and the choruses detonate, but they do in colors easily identifiable to a throng of American baby punks with silver safety pins in their mouths". Allmusic's Hal Horowitz found that by State of Emergency the group "takes its Stray Cats strut and Reverend Horton Heat bluster and continues to channel it into a more commercially viable pop/punk sound ... [it] sounds more like a buffed up Jam album, all snappy hooks and impassioned vocals over a rollicking set of songs". Fellow Allmusic reviewer Adam Greenberg found that on White Noise the group "experiments a bit with new sounds but also seems to hang right on the edge of what they had been doing previously". Dave Donnelly opined that the band "have been mining the territory between pop-punk and rockabilly for well over a decade now, and their experience shines through in the slick musicianship" of The Ending Is Just the Beginning Repeating. Amongst other bands, Sum 41 guitarist Dave Baksh has suggested that it would be great if he could tour with The Living End, saying that they're all "really good musicians". Collaborations The Living End have made recordings with many popular bands and artists. In 1998, just as they were gaining popularity in Australia, they performed at "Tour of Duty" for the peace keepers in East Timor. At this, their first live concert to Australians, they performed two tracks from what was their upcoming album, as well as performing with The Angels' frontman Doc Neeson and "Jingle Bell Rock" with Australian pop singer Kylie Minogue. In December 1998, supporting the German band Die Toten Hosen they played a cover of Slade's "Merry Christmas" with them on 26 December 1998 in Düsseldorf, as part of Die Toten Hosen's 1998 Christmas tour of Germany. The two bands met on the 1998 inaugural Warped Tour of Australia, New Zealand, Japan and Hawaii. In early 2001 The Living End performed as the support act for AC/DC during the Australian leg of their Stiff Upper Lip world tour. For their 2000 release, How It Works, Cheney performed backing vocals on Bodyjar's song "Halfway Around The World". Lead singer and guitarist Chris Cheney was also a member of the "super group" The Wrights who released covers of Stevie Wright's songs, "Evie Parts 1, 2 & 3" after performing "Evie Part 1" at the 2004 Australian Music Industry's ARIA Music Awards. Cheney also played guitar and contributed backing vocals to "Private School Kid" on Sarah McLeod's (formerly of The Superjesus) debut solo album. Cheney appeared as a guest guitarist on Stephen Cummings Firecracker album. The Living End performed alongside Normie Rowe performing two of Normie's hits "Que Sera Sera" and "Shakin' All Over" at the 2005 ARIA Hall of Fame. In 2005, the band recorded a version of Ashton, Gardner and Dyke's "Resurrection Shuffle" with Jimmy Barnes on his duet album Double Happiness. The Living End also appeared on Australian country and western music artist Kasey Chambers' album Barricades & Brickwalls, contributing the music and backing vocals to "Crossfire". On Australian band Jet's live DVD, Right Right Right, Chris Cheney appears at the end of the recorded concert to feature on a cover of Elvis Presley's "That's Alright Mamma". Chris Cheney also played "I Fought the Law" with Green Day at their Melbourne concert on 17 December 2005. Double bassist Scott Owen appeared on Australian legend Paul Kelly's Foggy Highway album, playing bass on "Song of the Old Rake". Scott also appeared in the film clip for the track. Cheney was the guest guitarist on the song, "Something More", which appears on the album, Lose Your Delusion, by Melbourne duo Over-reactor. Cheney will also feature on Grinspoon's seventh studio album playing a guitar solo. The Living End have also featured on Jimmy Barnes' album, 30:30 Hindsight, which was released in 2014, where they covered "Lay Down Your Guns". The song was then released as a music video to assist in the promotion of the album. In 2017, Chris Cheney featured on the Luke Yeoward's album Ghosts, with vocals and guitar contribution to the song "Whose Side Are You On?" Members Current Chris Cheney – lead guitar, lead vocals (1994–present) Scott Owen – double bass, bass guitar, backing vocals (1994–present) Andy Strachan – drums, backing vocals (2002–present) Live/touring members Adrian Lombardi – rhythm guitar, backing vocals (2011–2013, 2017) Former Joe Piripitzi – drums (1994–1996) Travis Demsey – drums (1996–2002) Timeline Discography Studio albums The Living End (1998) Roll On (2000) Modern Artillery (2003) State of Emergency (2006) White Noise (2008) The Ending Is Just the Beginning Repeating (2011) Shift (2016) Wunderbar (2018) Awards and nominations They hold the record for the most consecutive entries in Triple J's Hottest 100. The band made the chart every year between 1997 and 2006. The band won a total of nine awards at the Jack Awards – for Australian live music – from the first ceremony in 2004 to the final one in 2007. They have won more than any other artist as a whole and individually for 2006 and 2005 (2005 was actually a tie with Grinspoon on two awards). Of these, three awards for Best Guitarist (Cheney), one award for Best Live Male Performer (Cheney), two awards for Best Bassist (Owen), one award for Best Drummer (Strachan), one award for Best Live Band, and one award for Best Live Performance (on Channel V). In July 2009, Prisoner of Society was voted number 34 by the Australian public in "Triple J Hottest 100 of All Time". In July 2011, the band's self-titled album, The Living End, was voted number 4 by the Australian public in "Triple J Hottest 100 Australian Albums of All Time". APRA Awards The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA). \|- \| 2009 \|\| "White Noise" – Chris Cheney \|\| Song of the Year \|\| \|- \|rowspan="3"\| 2010 \|\| "Raise the Alarm" – Chris Cheney \|\| Most Played Australian Work \|\| \|- \| "Raise the Alarm" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| "White Noise" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| 2020 \|\| "Otherside" - Chris Cheney, Scott Owen, Andy Strachan, Tobias Kuhn \|\| Most Performed Rock Work of the Year \|\| \|- ARIA Music Awards The ARIA Music Awards are an annual series presented by Australian Recording Industry Association (ARIA) since 1987, which recognise excellence, innovation, and achievement across all genres of Australian music. The Living End have won a total of six awards from thirty nominations. Video games "End of the World" was featured in Tony Hawk's Underground 2, a skateboarding video game. "Carry Me Home" was featured in the video game Guitar Hero II as a playable song using the guitar peripheral. "West End Riot" was featured in the video game World of Outlaws: Sprint Cars 2002 in the opening film clip. "Prisoner of Society" was featured in the video game Guitar Hero: World Tour as a playable song, as well as in the Guitar Hero: World Tour meme 'Bike Hero'. The song was included in a 19 December 2008 DLC release for the Xbox 360 karaoke video game Lips. It was also featured in the game Supercross 2000 by Electronic Arts, along with their track "I Want a Day." See also References External links Official website Adeline Records artists APRA Award winners ARIA Award winners Australian punk rock groups Dine Alone Records artists Dew Process artists Musical groups from Melbourne Australian musical trios Psychobilly groups Pub rock musical groups	true	[ "Les Wriggles is a French band that formed in 1995 made up of five members, Christophe Gendreau, Stéphane Gourdon, Frédéric Volovitch, Antoine Réjasse, and Franck Zerbib. They wear red clothes throughout their concerts. In September 2006, Réjasse and Zerbib left the band to pursue solo careers rendering it a trio. In 2001, Frédéric Volovitch formed a side project with his brother Olivier Volovitch called Volo without quitting the band.\n\nOther projects\nFrédéric Volovitch was involved in a side project with his brother Olivier called Volo since 2001 but stayed with Les Wriggles until final break-up\nStephane Gourdon was also involved in a solo project with the stage named Noof.\n\nDiscography\n\nAlbums\n Justice avec des saucisses (1997)\n Les Wriggles partent en live (1999)\n Ah bah ouais mais bon (2002)\n Moi d'abord (2005)\n Tant pis! Tant mieux! (2007)\n En tournez (Live) (2009)\n Complètement red (2019)\n\nDVDs\n Les Wriggles à la Cigale (2003)\n Les Wriggles: Acte V au Trianon (2005)\n Les Wriggles en TourNez (2009)\n\nSee also\n Don't confuse this band with \"The Wiggles\", a children's musical group formed in Sydney\n\nExternal links \n Official site (in French)\n La Planète Wriggles: non official site (in French)\n Some picture in La Cigale - Paris\n\nFrench musical groups", "Charlie Palmer Hotel is a proposed 371-room hotel planned for of land at Symphony Park in downtown Las Vegas. As of September 2014, the project is on hold. \nThe project was announced by chef Charlie Palmer as a boutique condo hotel in 2006, with groundbreaking scheduled for later that year. In 2007, the proposed location for the project was changed to Symphony Park, and the condominium was removed from the project. The opening had initially been scheduled for November 2011, but the start of construction was delayed several times between 2010 and 2014, due to the poor state of the local hotel market.\n\nHistory\n\nOriginal project\nThe Charlie Palmer Hotel was announced by chef Charlie Palmer in April 2006. The project would have included a 35-story boutique condo hotel with 400 to 500 rooms, primarily consisting of studio and one-bedroom units that would range from to . The project was to be built on the three-acre site of the Golden Palm Hotel, located at the intersection of Tropicana Avenue and Dean Martin Drive. The project was to cost $400 million, and was scheduled to break ground later in 2006, with its completion expected for mid-2008. Palmer's partners in the project included Marvin Lipschultz, the owner of the property; Bill Richardson, the owner of W.A. Richardson Construction and a former executive for Mandalay Resort Group; and Dan Juba, the principal of the locally based Klai Juba Architects. Adam Tihany, who designed the interior for Palmer's Aureole restaurant in Las Vegas, was also involved in the new project.\n\nPalmer said the project would not include a casino or gambling: \"Our focus is on the guest experience, not walking them through a casino and getting them to game.\" The hotel was to have a sky lounge, event space on the top floor, a night club and cigar bar, and three restaurants, including the first sushi bar to be owned by Palmer. Amenities would include a health spa, a hair salon, sommelier service, and a 24-hour concierge service.\n\nNew location\nBy May 2007, the project's proposed location was moved to Union Park, an undeveloped 61-acre property in downtown Las Vegas that was subsequently renamed Symphony Park. In December 2008, Palmer still planned to proceed with the project, with an opening scheduled for November 2011, to coincide with the opening of the adjacent Smith Center for the Performing Arts. At the time, the project was to consist of 426 rooms; no condominium aspect was specified for the project. The hotel would be located on of land located north of the Smith Center. Richard Kaufman, the president of City-Core Development and a partner with The Charlie Palmer Group, was involved with the project at that time as a developer.\n\nIn February 2010, the Las Vegas City Council allowed Palmer to delay construction for two to four years, due to a poor economy. Construction had been scheduled to begin later that year. Bill Arent, the director of the city's office of business development, said, \"We believe this extension is in the best interest of making this project happen. This project was proposed as a hospitality project, a non-gaming hotel. The hospitality market right now in Las Vegas is struggling and is to experience some challenges in a few years to come.\" Kaufman said, \"The idea of this hotel is to bring an experience that I don't think exists in Las Vegas, and really concentrating on the non-gaming person who comes to Las Vegas, whether it's for business or recreation or what have you.\"\n\nIn March 2011, Kaufman said that the project would remain on hold because of the poor hotel economy. Kaufman also confirmed that condominiums were no longer a part of the project. In March 2012, Kaufman said the project did not have a start date, as he and Palmer were waiting for construction costs to decrease and for hotel-room rates to increase so the project could be financially viable. Kaufman said the project could be built in phases, with the first phase to consist of 50 to 100 rooms and a restaurant by Palmer. The project, at that time, was to include an ultimate total of 371 rooms. Kaufman said one problem in progressing the project was the uncertainty of what type of other nearby projects would be constructed at Symphony Park in the future.\n\nIn March 2013, the Las Vegas City Council unanimously approved a one-year extension for the start of construction on the project, as Kaufman said room rates had not increased enough for the hotel to operate: \"The problem is room rates are low so we need to spend less money because we can't charge more. How do we make it more affordable to build?\" Kaufman said a potential solution would be the construction of a 100-room hotel with a restaurant, with the possibility of expanding the project as part of a later second phase.\n\nIn September 2013, Palmer confirmed that he still planned to build the hotel but said, \"The big question there is what's going to happen around that piece of land. Originally there were nine or 10 projects on the slate, and a lot of them fell out. There's been talk of a stadium on the land adjacent to our property. It's hard to build and spend $200 or $300 million on a project not knowing who your neighbors are going to be\". In September 2014, the project was on hold until a decision was made regarding the proposed stadium in Symphony Park.\n\nReferences\n\nExternal links\n Official website, archived via the Wayback Machine\n\nDowntown Las Vegas\nProposed buildings and structures in Nevada" ]
[ "The Living End", "The Longnecks to Modern ARTillery (2002-2005)", "What is The Longnecks?", "The Living End developed a side project, The Longnecks,", "What was involved with this side project?", "to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention." ]	C_58dfb949fb84497aa3cc8f32549381b6_0	Did that album win any awards or honors?	3	Did Modern ARTillery win any awards or honors?	The Living End	In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboard's Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboard's Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997-2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. CANNOTANSWER	CANNOTANSWER	The Living End are an Australian punk rockabilly band from Melbourne, formed in 1994. Since 2002, the line-up consists of Chris Cheney (vocals, guitar), Scott Owen (double bass, vocals), and Andy Strachan (drums). The band rose to fame in 1997 after the release of their EP Second Solution / Prisoner of Society, which peaked at No. 4 on the Australian ARIA Singles Chart. They have released eight studio albums, two of which reached the No. 1 spot on the ARIA Albums Chart: The Living End (October 1998) and State of Emergency (February 2006). They have also achieved chart success in the U.S. and the United Kingdom. The Band was nominated 27 times and won five awards at the Australian ARIA Music Awards ceremonies: "Highest Selling Single" for Second Solution / Prisoner of Society (1998), "Breakthrough Artist – Album" and "Best Group" for The Living End (1999), as well as "Best Rock Album" for White Noise (2008) and The Ending Is Just the Beginning Repeating (2011). In October 2010, their debut album was listed in the book "100 Best Australian Albums". Australian musicologist Ian McFarlane described the group as "one of Australia’s premier rock acts. By blending a range of styles (punk, rockabilly and flat out rock) with great success, The Living End has managed to produce anthemic choruses and memorable songs in abundance". History Beginnings (1994–1996) The Living End were formed in 1994 by Chris Cheney and Scott Owen, who had met years earlier in primary school through their older sisters and began performing together from 1990 while attending Wheelers Hill Secondary College in Melbourne. Cheney and Owen had their first public gig at The Rob Roy in Melbourne in 1991. Cheney was a fan of rockabilly group Stray Cats and this prompted Owen, who originally played piano, to switch to double bass. The pair formed a cover band, The Runaway Boys, which performed Stray Cats and The Clash material. That group were named after a track, of the same name, from the Stray Cats self-titled debut album (February 1981). The Runaway Boys initially played in the local rockabilly music scene but expanded their audience by performing in regional towns and backing popular Melbourne cover band Mercury Blue at the Wheelers Hill Hotel/Pub. Cheney later recalled "[w]e played to all the jivers and rock 'n' rollers ... And we slowly drifted into Melbourne's rockabilly scene". As Cheney and Owen persevered, the band went through several drummers, while they were still attending school. By 1994, Cheney and Owen were writing their own material and decided to change the band's name to The Living End – a reference to the film, Rock Around the Clock (1956). According to Cheney "It's an old '50s term, meaning 'far out', 'the greatest' ... We were still into the whole '50s thing, but we wanted a neutral name, one that didn't suggest any one style of music". With Cheney on lead guitar and lead vocals, and Owen on double bass and backing vocals, the group settled on Joe Piripitzi as their drummer. Cheney considered Piripitzi to be ideal due to his charismatic appearance. During that year they recorded a track, "Headlines", which had been co-written by Cheney and Owen. The group sent a T-shirt and demo tape to Green Day guitarist and lead vocalist, Billie Joe Armstrong, and landed a support slot for Green Day's 1995 Australian tour. After that tour, The Living End recorded additional tracks for their debut extended play, Hellbound, which received moderate support from community radio stations. It was produced by the group and included "Headlines" from the previous year. Ed Nimmervoll, an Australian musicologist, described the EP's sound: "they turned their back on '50s rock revivalism and adapted that instrumentation to original songs steeped in UK punk". In November 1995, the trio recorded their second EP, It's for Your Own Good, which appeared in the following June. The six-track EP was co-produced by Lindsay Gravina (Underground Lovers, Cosmic Psychos), Mike Alonso (Jericho) and The Living End for the Rapido label. It included their first radio airplay hit, "From Here on In", which was placed on high rotation by national youth radio network, Triple J. Shortly after, Piripitzi was fired as his lifestyle choices were holding back the band. He was replaced on drums by Travis Demsey (later in The Knockout Drops). With Demsey the group appeared at major festivals: Pushover and the Falls Festival. Demsey's drum style was compared with The Who's Keith Moon. "From Here on In" was used on the soundtrack for the 1998 film, Occasional Course Language. Breakout single to debut album (1997–1999) The Living End toured Australia for a year, then in August 1997 they recorded new material to sell at their live shows. Their double A-sided single, "Second Solution" / "Prisoner of Society", was issued in January the following year. Also that month they had supported The Offspring on the Australian leg of their tour. "Second Solution" / "Prisoner of Society" peaked at No. 4 on the ARIA Singles Chart, and was certified double-platinum by ARIA for shipment of 140,000 copies. At the ARIA Music Awards of 1998 it won the Highest Selling Single category; and eventually became the highest selling Australian single of the 1990s. It lasted a record-breaking 47 weeks in the Top 50. In October 1998 it peaked at No. 28 on the New Zealand Singles Chart. It was later featured in the game, Guitar Hero World Tour. "Second Solution" was used in the soundtrack for the 2002 movie, Cheats, which starred Trevor Fehrman, Matthew Lawrence, and Mary Tyler Moore. Early in 1998 "Prisoner of Society" was issued as a separate single in the United Kingdom and, the following year, in the US. The single appeared in the top 200 of the UK Singles Chart, and peaked at No. 23 on the Billboards Alternative Songs Chart. The band signed with Modular Recordings for the release of their debut self-titled album, which appeared on 12 October 1998, and was co-produced by Gravina with the trio. It peaked at No. 1 on the ARIA Albums Chart, became the then-second highest-selling debut rock album in Australian music history and, by 1999, was certified 4x Platinum for shipment of 280,000 units. Their next Australian single, "Save the Day", was issued in September 1998, a month ahead of the album. It made the top 30 on the ARIA Singles Chart. It became their highest charting hit on the New Zealand Singles Chart, where it reached No. 10. From the album, a total of six singles were released including a live cover version of "Tainted Love", which was issued as a radio-only single on Triple J. At the ARIA Music Awards of 1999, The Living End won two more awards: Best Group and Breakthrough Artist – Album. At the ceremony they were also nominated for Album of the Year and Highest Selling Album. In October 2010 their debut album was listed in the book 100 Best Australian Albums. Roll On (2000–2001) The Living End's second album, Roll On, was recorded during July 2000 with Nick Launay (Midnight Oil, Models, Silverchair) producing and appeared in November that year. It peaked at No. 8 on the ARIA Albums Chart and reached the top 40 in New Zealand. Although Roll On was a more creative work, Nimmervoll mentioned that they had "broadened their musical scope while keeping in tact [sic] what made them unique - the instrumentation and the socially-aware lyrics". The album did not achieve the status of their earlier album as it was certified platinum for shipment of 70,000 copies. Despite this, fans consider it to be as strong as the self-titled album; "[it's] an absolute scorcher! That's what years of live honing can do for a band that was already white-hot". Cheney later stated that he was trying to prove to critics that The Living End were not a band simply defined by their hit, "Prisoner of Society", and the album showed this by displaying other influences, as well as their traditional fast-paced rockabilly music. Rolling Stone Jenny Eiscu compared it to The Clash's creative breakthrough, London Calling (December 1979), as they "stomp all over the boundaries between punk, reggae, rockabilly and plain old rock & roll – and it still sounds like a revelation, twenty-two years after [T]he Clash did it. The pupils don't quite outpace the masters here ... But the band is obviously having such a riotously good time that you'd be a sucker not to stomp your foot and join the party". Much of the style was comparable to 1980s hard rock and pub rock, as well as many tracks being obscure mixes of many ideas, resulting in 'procrastinating' structures. This defined the album's creativity. The album's first two singles, "Pictures in the Mirror" and the title track, peaked into the top 20 on the ARIA Singles Chart. "Pictures in the Mirror" also reached the top 20 in New Zealand, while "Roll On" peaked at No. 33 on the Billboard Alternative Songs Chart, and appeared in the top 150 of the UK Singles Chart. In March 2001 Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict". The trio received US-wide coverage by playing on both Conan O'Brien's and David Letterman's late-night variety shows. The album included "Carry me Home", which appeared on the Guitar Hero II soundtrack. However, touring in support of Roll On and the related singles was halted after Cheney had a car accident on the Great Ocean Road, rendering him unable to play for a significant period of time: he was "hospitalised for 2 months". He had been on travelling to the house of a member of fellow Australian band and tour mates, Bodyjar. The Longnecks to Modern ARTillery (2002–2005) In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboards Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboards Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997–2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. State of Emergency (2005–2007) The Living End's fourth studio album, State of Emergency, was recorded in Byron Bay with Launay producing, following the band's appearance at Splendour in the Grass. The recording and the artwork was completed in mid-December 2005, and the album was released on 4 February the following year. The Living End had again played gigs as The Longnecks, before recording the album, to test out the new material. It peaked at No. 1 on the ARIA Albums Chart in its first week, it reached top 40 in New Zealand, and on Billboards Alternative Songs Chart. The lead single, "What's on Your Radio?", had been issued in November 2005, and reached No. 9 on the ARIA Singles Chart. The second single, "Wake Up", was released in February just after the album and reached No. 5. It became their highest charting single in New Zealand where it peaked at No. 12. The third single, "Long Live the Weekend", was released in May, and appeared in the top 30 in Australia. The fourth single, "Nothing Lasts Forever", was released in August and also reached the top 40. The album was nominated for the 2006 J Award. The album was issued in the US through Green Day's Armstrong's Adeline Records along with Eastwest Records on 11 July 2006 and in Canada a week later. Another release in support of the album was the DVD, Live at Festival Hall, on 30 September, which captured a Melbourne performance during the State of Emergency Tour, and featured many songs from the album, and earlier tracks. On 20 June 2006 the band received four Jack Awards: Best Live Band, Best Live TV Performance, Best Performer (Cheney) and Best Drummer (Strachan). Thereby the group achieved the most awards in a year and, at eight overall, the most by any artist. During the 2006 State of Emergency tour, the Living End's show in Milwaukee was cancelled, so it was rescheduled on 2 December as a support act for +44. On 6 October Cheney left the band because he felt burnt out, he was sick of the constant touring, as well as experiencing writer's block. Cheney felt that he needed to get away from the band and develop other aspects of his life. This information was kept confidential until 2008. Early in 2007 Cheney had isolated himself from his bandmates while trying to write tracks for a follow-up to State of Emergency. He was disappointed with the results so he took up yoga, spent time painting and being around his baby daughter whilst taking a break from music for the first time in 10 years. During this period the band released a radio-only single, a cover version of Cold Chisel's "Rising Sun", available on the Standing on the Outside (March 2007), a Cold Chisel tribute album by various Australian artists. After Cheney overcame his writer's block and was convinced not to leave the band, the group played The Great Escape in April 2007 and restarted work on their fifth studio album. They toured the UK in August that year, releasing State of Emergency there on 13 August through Deck Cheese Records. White Noise (2008–2009) The Living End released their fifth studio album, White Noise, on 19 July 2008. The trio had performed at The Ages Entertainment Guide's EG Awards in Melbourne in December 2007. Two new songs had been premiered, "Raise the Alarm" and "How Do We Know". During February the following year they played gigs as The Longnecks to test out more new material prior to recording. The gigs were described by Cheney as the most exciting of their career, "there is a heaviness and depth to the new stuff that we simply haven't had before". Pre-production for the album took place at Studio One in Collingwood, Melbourne with producer Kalju Tonuma. This included various co-writes including the track "Sum of Us". After the sonic blueprint of the album was established, producer John Agnello (Sonic Youth, The Hold Steady) was engaged to commence recording at Water Music Studios in Hoboken, New Jersey, for their new label, Dew Process, on the week beginning 31 March. Cheney felt Agnello "[could] capture the energy and attack we are after". Brendan O'Brien mixed the record at Silent Sound Studios in Atlanta, Georgia. The Ages Andrew Murfett declared they "have never been able to convey the energy and power of their live shows on record ... [this album] is fresh, diverse and relatively honest, and TLE suddenly got a lot more interesting". White Noise peaked at No. 2 on the ARIA Albums Chart in its first week, it reached No. 18 in New Zealand – becoming their highest charting album there. In support of the album, they made TV appearances, including a performance on 5 October at the 2008 NRL Grand Final at ANZ Stadium. At the ARIA Music Awards of 2008, White Noise was awarded the Best Rock Album, over efforts from Gyroscope and Faker. The first single issued from the album included the title track. Another song, "How Do We Know", was simultaneously released as a radio-only track on Triple J, and was heard on other radio stations, such as Nova 969. The tracks formed a double A-sided single, which was issued both physically and digitally in July 2008. It reached No. 12 on the ARIA Singles Chart, and top 30 in New Zealand. White Noise had almost a year-and-a-half of writing behind it, showing "more of a hard rock influence" and the group declared it's "the best thing we've ever done". In September that year a second single, "Moment in the Sun", was released to Australian radio; it was physically and digitally released a month later. In December "Raise the Alarm" was released to radio as the third single. A music video had been issued containing footage of live performances during the White Noise Tour and some others. In February 2009 the band made a secret appearance in Melbourne supporting the Stray Cats on their Farewell Tour. In May The Living End started the Raise the Alarm Tour. The Ending Is Just the Beginning Repeating (2010–2015) During September and October 2010 The Living End performed under another alias, Safety Matches, testing new material, similar to the previous usage of The Longnecks, for their sixth album, The Ending Is Just The Beginning Repeating. The tracks vetted included "United", "Universe", "Away from the City" (then-titled "Black and White"), the title track, "Resist" and "Heatwave". In the January 2011 edition of The Living End's News, Cheney revealed "[h]aving spent all of 2010 writing album 6 we have amassed something in the vicinity of 40+ songs to choose from... There are some really different ideas kicking around this time but the emphasis has been on creating a cohesive album that is heavy, melodic and overall very anthemic". The title track was premiered as the lead single in early June 2011 on national radio stations. The album appeared on 22 July that year, it was produced by Nick DiDia (Powderfinger). On 17 July Triple J played tracks from the album with further tracks played through the week prior to its release. The Living End also allowed fans on their mailing list a 24-hour stream of the record on 18 July. Fans could listen as many times as they wanted and were able to comment on the stream. In support of the album a live stream of a performance occurred on YouTube on 19 July. This featured an additional guitarist as well as Cheney playing rhythm guitar. From 2011 the band has employed Adrian Lombardi (ex-Mid Youth Crisis, Blueline Medic) on stage as their second guitarist. In July 2012 Cheney announced on Triple J that throughout November and December of that year, as part of The Retrospective Tour, they would perform each of their six studio albums over a week, in each of five Australian state capitals (Perth, Adelaide, Sydney, Brisbane and Melbourne). The Living End played in the UK and Germany throughout August and September 2013, and headlined at the Summernats 27 in Canberra in 2014. The Living End also played at the 2014 Soundwave Festival in Australia as a replacement for Stone Temple Pilots who had to pull out due to scheduling conflicts with the recording of their next album. The Living End supported Cold Chisel in their One Night Stand tour, with shows at Townsville, Darwin, Perth, Macedon Ranges and Sydney. Shift (2015–2017) The Living End announced they finished their seventh studio album in 2015. On 15 March 2016, the band released a song called "Monkey" as a taste of the album. "Monkey" is not the first official single off the album but was played live at the Decades Music Festival in 2015, along with another track called "Death". On 21 March 2016 the band officially announced the new album, Shift with a release date of 13 May 2016, alongside a national tour and the release of the single, "Keep on Running". "Staring Down The Barrel", the final single from the album, was released in October 2016. The song was inspired by Cheney's battles with alcohol. Wunderbar (2018–present) On 22 June 2018, The Living End released a new song, "Don't Lose It". The band played two special pub shows in Sydney and Melbourne to launch the new single. On 10 July 2018, the band officially announced their eighth album, Wunderbar, with a release date of 28 September 2018. Following this announcement, a video was launched for the previously released single "Don't Lose It". The video is a parody of reality talent contests, such as The Voice and Idols, and features cameos from many Australian musicians and personalities, such as Jimmy Barnes, Jane Gazzo, Molly Meldrum, Daryl Braithwaite and Murray Cook. Wunderbar was recorded over a six-week period in February 2018, in Berlin, Germany, with producer Tobias Kuhn. Kuhn was brought on as producer after being recommended by German punk band, Die Toten Hosen. Wunderbar peaked at #3 on the ARIA charts. Musical style and influences The Living End consider themselves to be a rock 'n' roll band based on punk ethics, citing The Clash, Iggy Pop, The Who and The Jam as influences and bands with whom they share the same ideals, making a social commentary on what's going on around them. They have also been compared favorably to 1990s punk revivalists Rancid. However, the band do not consider themselves a punk band, more a rock 'n' roll band who are influenced by punk. Allmusic's Stephen Thomas Erlewine reviewed their debut album, he noted their "sound owes far more to the Ramones than it does to Eddie Cochran, or even the Clash, but they've cleverly appropriated certain rockabilly signatures – most ridiculously, the upright acoustic bass – that give their homage to the golden age of punk a bit of charm". Cheney regards 1950s rock 'n' roll, including Elvis Presley, as his greatest influence and first musical love which, along with 1980s rockabilly revival band Stray Cats, the band's sound was based on. Owen has said that his favourite bands include Stray Cats, Reverend Horton Heat, Midnight Oil, The Clash, The Jam, Green Day, Sublime, Bodyjar, The Brian Setzer Orchestra, Rancid, The Beatles and Supergrass. Owen regards Lee Rocker of Stray Cats as his main performance influence, mimicking the right hand movements of Rocker on the upright bass when he first learnt how to play. As The Runaway Boys the trio had performed 1950s rock revival to "all the jivers and rock 'n' rollers". They also regard Australian pub rock as an important influence on the band, something the members grew up with and appreciated. Other rockabilly influences include Reverend Horton Heat and Eddie Cochran Their rockabilly influences were tempered by exposure to differing forms "[w]e'd support a jazz band one night, and a metal band the following. It helped us a lot". Allmusic's MacKenzie Wilson found that by Roll On the group had grown up "but continue to rampage on with their rowdy punkabilly ... their sophomore effort pulls toward their Aussie rock roots (AC/DC, Rose Tattoo) and a touch of British class for an eager modification". They acknowledge the inspiration of 1970s punk groups and The Sharp. Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict" The Worldwide Home of Australasian Music and More Online website reviewed their early releases, with The Living End described as "anthemic and attitudinous brand of rockabilly-meets-punk (circa Clash not SoCal)"; Roll On had them as "kings of rockapunkerbilly"; for Modern Artillery Cheney's lyrics were lauded with "every time I expect the quality to wane, a new level is reached" and the band itself showed that "Nobody plays nitro-powered punkabilly faster or tighter than this combo and Modern Artillery represents the band's finest hour". However Allmusic's Johnny Loftus found that album showed that the "bawdy gang vocals of 2001's Roll On have been replaced by sculpted multi-tracking ... guitars punch mightily, and the choruses detonate, but they do in colors easily identifiable to a throng of American baby punks with silver safety pins in their mouths". Allmusic's Hal Horowitz found that by State of Emergency the group "takes its Stray Cats strut and Reverend Horton Heat bluster and continues to channel it into a more commercially viable pop/punk sound ... [it] sounds more like a buffed up Jam album, all snappy hooks and impassioned vocals over a rollicking set of songs". Fellow Allmusic reviewer Adam Greenberg found that on White Noise the group "experiments a bit with new sounds but also seems to hang right on the edge of what they had been doing previously". Dave Donnelly opined that the band "have been mining the territory between pop-punk and rockabilly for well over a decade now, and their experience shines through in the slick musicianship" of The Ending Is Just the Beginning Repeating. Amongst other bands, Sum 41 guitarist Dave Baksh has suggested that it would be great if he could tour with The Living End, saying that they're all "really good musicians". Collaborations The Living End have made recordings with many popular bands and artists. In 1998, just as they were gaining popularity in Australia, they performed at "Tour of Duty" for the peace keepers in East Timor. At this, their first live concert to Australians, they performed two tracks from what was their upcoming album, as well as performing with The Angels' frontman Doc Neeson and "Jingle Bell Rock" with Australian pop singer Kylie Minogue. In December 1998, supporting the German band Die Toten Hosen they played a cover of Slade's "Merry Christmas" with them on 26 December 1998 in Düsseldorf, as part of Die Toten Hosen's 1998 Christmas tour of Germany. The two bands met on the 1998 inaugural Warped Tour of Australia, New Zealand, Japan and Hawaii. In early 2001 The Living End performed as the support act for AC/DC during the Australian leg of their Stiff Upper Lip world tour. For their 2000 release, How It Works, Cheney performed backing vocals on Bodyjar's song "Halfway Around The World". Lead singer and guitarist Chris Cheney was also a member of the "super group" The Wrights who released covers of Stevie Wright's songs, "Evie Parts 1, 2 & 3" after performing "Evie Part 1" at the 2004 Australian Music Industry's ARIA Music Awards. Cheney also played guitar and contributed backing vocals to "Private School Kid" on Sarah McLeod's (formerly of The Superjesus) debut solo album. Cheney appeared as a guest guitarist on Stephen Cummings Firecracker album. The Living End performed alongside Normie Rowe performing two of Normie's hits "Que Sera Sera" and "Shakin' All Over" at the 2005 ARIA Hall of Fame. In 2005, the band recorded a version of Ashton, Gardner and Dyke's "Resurrection Shuffle" with Jimmy Barnes on his duet album Double Happiness. The Living End also appeared on Australian country and western music artist Kasey Chambers' album Barricades & Brickwalls, contributing the music and backing vocals to "Crossfire". On Australian band Jet's live DVD, Right Right Right, Chris Cheney appears at the end of the recorded concert to feature on a cover of Elvis Presley's "That's Alright Mamma". Chris Cheney also played "I Fought the Law" with Green Day at their Melbourne concert on 17 December 2005. Double bassist Scott Owen appeared on Australian legend Paul Kelly's Foggy Highway album, playing bass on "Song of the Old Rake". Scott also appeared in the film clip for the track. Cheney was the guest guitarist on the song, "Something More", which appears on the album, Lose Your Delusion, by Melbourne duo Over-reactor. Cheney will also feature on Grinspoon's seventh studio album playing a guitar solo. The Living End have also featured on Jimmy Barnes' album, 30:30 Hindsight, which was released in 2014, where they covered "Lay Down Your Guns". The song was then released as a music video to assist in the promotion of the album. In 2017, Chris Cheney featured on the Luke Yeoward's album Ghosts, with vocals and guitar contribution to the song "Whose Side Are You On?" Members Current Chris Cheney – lead guitar, lead vocals (1994–present) Scott Owen – double bass, bass guitar, backing vocals (1994–present) Andy Strachan – drums, backing vocals (2002–present) Live/touring members Adrian Lombardi – rhythm guitar, backing vocals (2011–2013, 2017) Former Joe Piripitzi – drums (1994–1996) Travis Demsey – drums (1996–2002) Timeline Discography Studio albums The Living End (1998) Roll On (2000) Modern Artillery (2003) State of Emergency (2006) White Noise (2008) The Ending Is Just the Beginning Repeating (2011) Shift (2016) Wunderbar (2018) Awards and nominations They hold the record for the most consecutive entries in Triple J's Hottest 100. The band made the chart every year between 1997 and 2006. The band won a total of nine awards at the Jack Awards – for Australian live music – from the first ceremony in 2004 to the final one in 2007. They have won more than any other artist as a whole and individually for 2006 and 2005 (2005 was actually a tie with Grinspoon on two awards). Of these, three awards for Best Guitarist (Cheney), one award for Best Live Male Performer (Cheney), two awards for Best Bassist (Owen), one award for Best Drummer (Strachan), one award for Best Live Band, and one award for Best Live Performance (on Channel V). In July 2009, Prisoner of Society was voted number 34 by the Australian public in "Triple J Hottest 100 of All Time". In July 2011, the band's self-titled album, The Living End, was voted number 4 by the Australian public in "Triple J Hottest 100 Australian Albums of All Time". APRA Awards The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA). \|- \| 2009 \|\| "White Noise" – Chris Cheney \|\| Song of the Year \|\| \|- \|rowspan="3"\| 2010 \|\| "Raise the Alarm" – Chris Cheney \|\| Most Played Australian Work \|\| \|- \| "Raise the Alarm" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| "White Noise" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| 2020 \|\| "Otherside" - Chris Cheney, Scott Owen, Andy Strachan, Tobias Kuhn \|\| Most Performed Rock Work of the Year \|\| \|- ARIA Music Awards The ARIA Music Awards are an annual series presented by Australian Recording Industry Association (ARIA) since 1987, which recognise excellence, innovation, and achievement across all genres of Australian music. The Living End have won a total of six awards from thirty nominations. Video games "End of the World" was featured in Tony Hawk's Underground 2, a skateboarding video game. "Carry Me Home" was featured in the video game Guitar Hero II as a playable song using the guitar peripheral. "West End Riot" was featured in the video game World of Outlaws: Sprint Cars 2002 in the opening film clip. "Prisoner of Society" was featured in the video game Guitar Hero: World Tour as a playable song, as well as in the Guitar Hero: World Tour meme 'Bike Hero'. The song was included in a 19 December 2008 DLC release for the Xbox 360 karaoke video game Lips. It was also featured in the game Supercross 2000 by Electronic Arts, along with their track "I Want a Day." See also References External links Official website Adeline Records artists APRA Award winners ARIA Award winners Australian punk rock groups Dine Alone Records artists Dew Process artists Musical groups from Melbourne Australian musical trios Psychobilly groups Pub rock musical groups	false	[ "Lauryn Hill is an American singer, rapper, and songwriter. With a total of 8 awards and 19 nominations from the Grammy Awards for her music (including her work in The Fugees), she is the most Grammy awarded female rapper. Hill was the first female hip hop artist to win the Grammy Awards for Best New Artist and Best Rap Album (with The Fugees). Her first and only solo studio album, The Miseducation of Lauryn Hill, won four awards at the 41st Annual Grammy Awards, including Album of the Year, making it the first hip hop album to win the award, and making Hill the youngest black artist to win the award; Hill walked away with a total of five awards that night, breaking the record at the time for most awards won by a female artist in single ceremony, and set the current record for most nominations received by a female artist in a single ceremony.\n\nIn 2000, Hill won a consecutive Grammy Award for Album of the Year, as a producer on Santana's Supernatural, becoming the only female artist to win the award in two consecutive years, and the only female artist to win as a lead artist and as a producer. Hill was awarded Video of the Year at the 1999 MTV Video Music Awards, for her music video \"Doo Wop (That Thing)\", becoming the first hip hop video to win. \n\nAdditionally Hill has won four NAACP Image Awards, Including the President's Award. In 2015, she received the Golden Note Award from American Society of Composers, Authors and Publishers; while additionally winning songwriting awards for her songwriting credits (including Drake's \"Nice for What\", Aretha Franklin's \"A Rose Is Still a Rose\", Cardi B's \"Be Careful\", and Kanye West's \"All Falls Down\"), bringing her total of ASCAP Awards to nine. Hill has broken a total of four Guinness World Records, throughout her career. In 2022, Hill will be inducted into the Black Music & Entertainment Walk of Fame.\n\nAwards and nominations\n\nOther accolades\n\nState honors\n\nWorld records\n\nAtlanta Hip Hop Film Festival\n\nBlack Music & Entertainment Walk of Fame\n\nColumbia High School Hall of Fame\n\nVevo Certified Awards \nVevo Certified Award honors artists with over 100 million views on Vevo and its partners (including YouTube) through special features on the Vevo website. It was launched in June 2012.\n\nNotes\n\nReferences \n\nHill, Lauryn\nAwards", "The following table is a selected list of awards and honors given to the Japanese film director Akira Kurosawa.\n\nCategories\nThe list represents three categories of film awards or honors:\n Best Film awards given to a Kurosawa-directed film, whether Kurosawa directly received the award or not (including \"Foreign Film\" awards);\n Best Director or Best Screenplay awards to Kurosawa for a Kurosawa-directed film;\n Career achievement awards.\n\nFor reasons of space, two categories of awards have been excluded from the table below:\n Nominations for awards given to either Kurosawa himself or to films he directed which he or the film did not subsequently win (e.g., the nomination of Throne of Blood for the Venice Film Festival Golden Lion award in 1957; his own nomination for Best Director for Ran at the 58th Academy Awards);\n Awards given to cast members of Kurosawa-directed films, or to crew members other than Kurosawa (e.g., Toshiro Mifune’s Best Actor prize for Yojimbo at the 1961 Venice Film Festival; Emi Wada’s Oscar for Ran at the 1985 Academy Awards).\n\nData\nThe information in the table is derived from the IMDb Akira Kurosawa awards page and the IMDb awards pages for the individual films, supplemented by the filmography by Kurosawa’s biographer, Stuart Galbraith IV, unless otherwise noted. \n\nKey: (NK) = Not known; (P) = Posthumous award\n\nTable\n\nReferences\n\nNotes\n\nCitations\n\nSources\n\n \n \n\nAwards And Honors\nKurosawa, Akira" ]
[ "The Living End", "The Longnecks to Modern ARTillery (2002-2005)", "What is The Longnecks?", "The Living End developed a side project, The Longnecks,", "What was involved with this side project?", "to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention.", "Did that album win any awards or honors?", "I don't know." ]	C_58dfb949fb84497aa3cc8f32549381b6_0	What else did the band do during this time?	4	What else did The Living End do between 2002 and 2005 besides create The Longnecks and Modern ARTillery?	The Living End	In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboard's Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboard's Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997-2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. CANNOTANSWER	In mid-2002 The Living End recorded four tracks,	The Living End are an Australian punk rockabilly band from Melbourne, formed in 1994. Since 2002, the line-up consists of Chris Cheney (vocals, guitar), Scott Owen (double bass, vocals), and Andy Strachan (drums). The band rose to fame in 1997 after the release of their EP Second Solution / Prisoner of Society, which peaked at No. 4 on the Australian ARIA Singles Chart. They have released eight studio albums, two of which reached the No. 1 spot on the ARIA Albums Chart: The Living End (October 1998) and State of Emergency (February 2006). They have also achieved chart success in the U.S. and the United Kingdom. The Band was nominated 27 times and won five awards at the Australian ARIA Music Awards ceremonies: "Highest Selling Single" for Second Solution / Prisoner of Society (1998), "Breakthrough Artist – Album" and "Best Group" for The Living End (1999), as well as "Best Rock Album" for White Noise (2008) and The Ending Is Just the Beginning Repeating (2011). In October 2010, their debut album was listed in the book "100 Best Australian Albums". Australian musicologist Ian McFarlane described the group as "one of Australia’s premier rock acts. By blending a range of styles (punk, rockabilly and flat out rock) with great success, The Living End has managed to produce anthemic choruses and memorable songs in abundance". History Beginnings (1994–1996) The Living End were formed in 1994 by Chris Cheney and Scott Owen, who had met years earlier in primary school through their older sisters and began performing together from 1990 while attending Wheelers Hill Secondary College in Melbourne. Cheney and Owen had their first public gig at The Rob Roy in Melbourne in 1991. Cheney was a fan of rockabilly group Stray Cats and this prompted Owen, who originally played piano, to switch to double bass. The pair formed a cover band, The Runaway Boys, which performed Stray Cats and The Clash material. That group were named after a track, of the same name, from the Stray Cats self-titled debut album (February 1981). The Runaway Boys initially played in the local rockabilly music scene but expanded their audience by performing in regional towns and backing popular Melbourne cover band Mercury Blue at the Wheelers Hill Hotel/Pub. Cheney later recalled "[w]e played to all the jivers and rock 'n' rollers ... And we slowly drifted into Melbourne's rockabilly scene". As Cheney and Owen persevered, the band went through several drummers, while they were still attending school. By 1994, Cheney and Owen were writing their own material and decided to change the band's name to The Living End – a reference to the film, Rock Around the Clock (1956). According to Cheney "It's an old '50s term, meaning 'far out', 'the greatest' ... We were still into the whole '50s thing, but we wanted a neutral name, one that didn't suggest any one style of music". With Cheney on lead guitar and lead vocals, and Owen on double bass and backing vocals, the group settled on Joe Piripitzi as their drummer. Cheney considered Piripitzi to be ideal due to his charismatic appearance. During that year they recorded a track, "Headlines", which had been co-written by Cheney and Owen. The group sent a T-shirt and demo tape to Green Day guitarist and lead vocalist, Billie Joe Armstrong, and landed a support slot for Green Day's 1995 Australian tour. After that tour, The Living End recorded additional tracks for their debut extended play, Hellbound, which received moderate support from community radio stations. It was produced by the group and included "Headlines" from the previous year. Ed Nimmervoll, an Australian musicologist, described the EP's sound: "they turned their back on '50s rock revivalism and adapted that instrumentation to original songs steeped in UK punk". In November 1995, the trio recorded their second EP, It's for Your Own Good, which appeared in the following June. The six-track EP was co-produced by Lindsay Gravina (Underground Lovers, Cosmic Psychos), Mike Alonso (Jericho) and The Living End for the Rapido label. It included their first radio airplay hit, "From Here on In", which was placed on high rotation by national youth radio network, Triple J. Shortly after, Piripitzi was fired as his lifestyle choices were holding back the band. He was replaced on drums by Travis Demsey (later in The Knockout Drops). With Demsey the group appeared at major festivals: Pushover and the Falls Festival. Demsey's drum style was compared with The Who's Keith Moon. "From Here on In" was used on the soundtrack for the 1998 film, Occasional Course Language. Breakout single to debut album (1997–1999) The Living End toured Australia for a year, then in August 1997 they recorded new material to sell at their live shows. Their double A-sided single, "Second Solution" / "Prisoner of Society", was issued in January the following year. Also that month they had supported The Offspring on the Australian leg of their tour. "Second Solution" / "Prisoner of Society" peaked at No. 4 on the ARIA Singles Chart, and was certified double-platinum by ARIA for shipment of 140,000 copies. At the ARIA Music Awards of 1998 it won the Highest Selling Single category; and eventually became the highest selling Australian single of the 1990s. It lasted a record-breaking 47 weeks in the Top 50. In October 1998 it peaked at No. 28 on the New Zealand Singles Chart. It was later featured in the game, Guitar Hero World Tour. "Second Solution" was used in the soundtrack for the 2002 movie, Cheats, which starred Trevor Fehrman, Matthew Lawrence, and Mary Tyler Moore. Early in 1998 "Prisoner of Society" was issued as a separate single in the United Kingdom and, the following year, in the US. The single appeared in the top 200 of the UK Singles Chart, and peaked at No. 23 on the Billboards Alternative Songs Chart. The band signed with Modular Recordings for the release of their debut self-titled album, which appeared on 12 October 1998, and was co-produced by Gravina with the trio. It peaked at No. 1 on the ARIA Albums Chart, became the then-second highest-selling debut rock album in Australian music history and, by 1999, was certified 4x Platinum for shipment of 280,000 units. Their next Australian single, "Save the Day", was issued in September 1998, a month ahead of the album. It made the top 30 on the ARIA Singles Chart. It became their highest charting hit on the New Zealand Singles Chart, where it reached No. 10. From the album, a total of six singles were released including a live cover version of "Tainted Love", which was issued as a radio-only single on Triple J. At the ARIA Music Awards of 1999, The Living End won two more awards: Best Group and Breakthrough Artist – Album. At the ceremony they were also nominated for Album of the Year and Highest Selling Album. In October 2010 their debut album was listed in the book 100 Best Australian Albums. Roll On (2000–2001) The Living End's second album, Roll On, was recorded during July 2000 with Nick Launay (Midnight Oil, Models, Silverchair) producing and appeared in November that year. It peaked at No. 8 on the ARIA Albums Chart and reached the top 40 in New Zealand. Although Roll On was a more creative work, Nimmervoll mentioned that they had "broadened their musical scope while keeping in tact [sic] what made them unique - the instrumentation and the socially-aware lyrics". The album did not achieve the status of their earlier album as it was certified platinum for shipment of 70,000 copies. Despite this, fans consider it to be as strong as the self-titled album; "[it's] an absolute scorcher! That's what years of live honing can do for a band that was already white-hot". Cheney later stated that he was trying to prove to critics that The Living End were not a band simply defined by their hit, "Prisoner of Society", and the album showed this by displaying other influences, as well as their traditional fast-paced rockabilly music. Rolling Stone Jenny Eiscu compared it to The Clash's creative breakthrough, London Calling (December 1979), as they "stomp all over the boundaries between punk, reggae, rockabilly and plain old rock & roll – and it still sounds like a revelation, twenty-two years after [T]he Clash did it. The pupils don't quite outpace the masters here ... But the band is obviously having such a riotously good time that you'd be a sucker not to stomp your foot and join the party". Much of the style was comparable to 1980s hard rock and pub rock, as well as many tracks being obscure mixes of many ideas, resulting in 'procrastinating' structures. This defined the album's creativity. The album's first two singles, "Pictures in the Mirror" and the title track, peaked into the top 20 on the ARIA Singles Chart. "Pictures in the Mirror" also reached the top 20 in New Zealand, while "Roll On" peaked at No. 33 on the Billboard Alternative Songs Chart, and appeared in the top 150 of the UK Singles Chart. In March 2001 Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict". The trio received US-wide coverage by playing on both Conan O'Brien's and David Letterman's late-night variety shows. The album included "Carry me Home", which appeared on the Guitar Hero II soundtrack. However, touring in support of Roll On and the related singles was halted after Cheney had a car accident on the Great Ocean Road, rendering him unable to play for a significant period of time: he was "hospitalised for 2 months". He had been on travelling to the house of a member of fellow Australian band and tour mates, Bodyjar. The Longnecks to Modern ARTillery (2002–2005) In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboards Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboards Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997–2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. State of Emergency (2005–2007) The Living End's fourth studio album, State of Emergency, was recorded in Byron Bay with Launay producing, following the band's appearance at Splendour in the Grass. The recording and the artwork was completed in mid-December 2005, and the album was released on 4 February the following year. The Living End had again played gigs as The Longnecks, before recording the album, to test out the new material. It peaked at No. 1 on the ARIA Albums Chart in its first week, it reached top 40 in New Zealand, and on Billboards Alternative Songs Chart. The lead single, "What's on Your Radio?", had been issued in November 2005, and reached No. 9 on the ARIA Singles Chart. The second single, "Wake Up", was released in February just after the album and reached No. 5. It became their highest charting single in New Zealand where it peaked at No. 12. The third single, "Long Live the Weekend", was released in May, and appeared in the top 30 in Australia. The fourth single, "Nothing Lasts Forever", was released in August and also reached the top 40. The album was nominated for the 2006 J Award. The album was issued in the US through Green Day's Armstrong's Adeline Records along with Eastwest Records on 11 July 2006 and in Canada a week later. Another release in support of the album was the DVD, Live at Festival Hall, on 30 September, which captured a Melbourne performance during the State of Emergency Tour, and featured many songs from the album, and earlier tracks. On 20 June 2006 the band received four Jack Awards: Best Live Band, Best Live TV Performance, Best Performer (Cheney) and Best Drummer (Strachan). Thereby the group achieved the most awards in a year and, at eight overall, the most by any artist. During the 2006 State of Emergency tour, the Living End's show in Milwaukee was cancelled, so it was rescheduled on 2 December as a support act for +44. On 6 October Cheney left the band because he felt burnt out, he was sick of the constant touring, as well as experiencing writer's block. Cheney felt that he needed to get away from the band and develop other aspects of his life. This information was kept confidential until 2008. Early in 2007 Cheney had isolated himself from his bandmates while trying to write tracks for a follow-up to State of Emergency. He was disappointed with the results so he took up yoga, spent time painting and being around his baby daughter whilst taking a break from music for the first time in 10 years. During this period the band released a radio-only single, a cover version of Cold Chisel's "Rising Sun", available on the Standing on the Outside (March 2007), a Cold Chisel tribute album by various Australian artists. After Cheney overcame his writer's block and was convinced not to leave the band, the group played The Great Escape in April 2007 and restarted work on their fifth studio album. They toured the UK in August that year, releasing State of Emergency there on 13 August through Deck Cheese Records. White Noise (2008–2009) The Living End released their fifth studio album, White Noise, on 19 July 2008. The trio had performed at The Ages Entertainment Guide's EG Awards in Melbourne in December 2007. Two new songs had been premiered, "Raise the Alarm" and "How Do We Know". During February the following year they played gigs as The Longnecks to test out more new material prior to recording. The gigs were described by Cheney as the most exciting of their career, "there is a heaviness and depth to the new stuff that we simply haven't had before". Pre-production for the album took place at Studio One in Collingwood, Melbourne with producer Kalju Tonuma. This included various co-writes including the track "Sum of Us". After the sonic blueprint of the album was established, producer John Agnello (Sonic Youth, The Hold Steady) was engaged to commence recording at Water Music Studios in Hoboken, New Jersey, for their new label, Dew Process, on the week beginning 31 March. Cheney felt Agnello "[could] capture the energy and attack we are after". Brendan O'Brien mixed the record at Silent Sound Studios in Atlanta, Georgia. The Ages Andrew Murfett declared they "have never been able to convey the energy and power of their live shows on record ... [this album] is fresh, diverse and relatively honest, and TLE suddenly got a lot more interesting". White Noise peaked at No. 2 on the ARIA Albums Chart in its first week, it reached No. 18 in New Zealand – becoming their highest charting album there. In support of the album, they made TV appearances, including a performance on 5 October at the 2008 NRL Grand Final at ANZ Stadium. At the ARIA Music Awards of 2008, White Noise was awarded the Best Rock Album, over efforts from Gyroscope and Faker. The first single issued from the album included the title track. Another song, "How Do We Know", was simultaneously released as a radio-only track on Triple J, and was heard on other radio stations, such as Nova 969. The tracks formed a double A-sided single, which was issued both physically and digitally in July 2008. It reached No. 12 on the ARIA Singles Chart, and top 30 in New Zealand. White Noise had almost a year-and-a-half of writing behind it, showing "more of a hard rock influence" and the group declared it's "the best thing we've ever done". In September that year a second single, "Moment in the Sun", was released to Australian radio; it was physically and digitally released a month later. In December "Raise the Alarm" was released to radio as the third single. A music video had been issued containing footage of live performances during the White Noise Tour and some others. In February 2009 the band made a secret appearance in Melbourne supporting the Stray Cats on their Farewell Tour. In May The Living End started the Raise the Alarm Tour. The Ending Is Just the Beginning Repeating (2010–2015) During September and October 2010 The Living End performed under another alias, Safety Matches, testing new material, similar to the previous usage of The Longnecks, for their sixth album, The Ending Is Just The Beginning Repeating. The tracks vetted included "United", "Universe", "Away from the City" (then-titled "Black and White"), the title track, "Resist" and "Heatwave". In the January 2011 edition of The Living End's News, Cheney revealed "[h]aving spent all of 2010 writing album 6 we have amassed something in the vicinity of 40+ songs to choose from... There are some really different ideas kicking around this time but the emphasis has been on creating a cohesive album that is heavy, melodic and overall very anthemic". The title track was premiered as the lead single in early June 2011 on national radio stations. The album appeared on 22 July that year, it was produced by Nick DiDia (Powderfinger). On 17 July Triple J played tracks from the album with further tracks played through the week prior to its release. The Living End also allowed fans on their mailing list a 24-hour stream of the record on 18 July. Fans could listen as many times as they wanted and were able to comment on the stream. In support of the album a live stream of a performance occurred on YouTube on 19 July. This featured an additional guitarist as well as Cheney playing rhythm guitar. From 2011 the band has employed Adrian Lombardi (ex-Mid Youth Crisis, Blueline Medic) on stage as their second guitarist. In July 2012 Cheney announced on Triple J that throughout November and December of that year, as part of The Retrospective Tour, they would perform each of their six studio albums over a week, in each of five Australian state capitals (Perth, Adelaide, Sydney, Brisbane and Melbourne). The Living End played in the UK and Germany throughout August and September 2013, and headlined at the Summernats 27 in Canberra in 2014. The Living End also played at the 2014 Soundwave Festival in Australia as a replacement for Stone Temple Pilots who had to pull out due to scheduling conflicts with the recording of their next album. The Living End supported Cold Chisel in their One Night Stand tour, with shows at Townsville, Darwin, Perth, Macedon Ranges and Sydney. Shift (2015–2017) The Living End announced they finished their seventh studio album in 2015. On 15 March 2016, the band released a song called "Monkey" as a taste of the album. "Monkey" is not the first official single off the album but was played live at the Decades Music Festival in 2015, along with another track called "Death". On 21 March 2016 the band officially announced the new album, Shift with a release date of 13 May 2016, alongside a national tour and the release of the single, "Keep on Running". "Staring Down The Barrel", the final single from the album, was released in October 2016. The song was inspired by Cheney's battles with alcohol. Wunderbar (2018–present) On 22 June 2018, The Living End released a new song, "Don't Lose It". The band played two special pub shows in Sydney and Melbourne to launch the new single. On 10 July 2018, the band officially announced their eighth album, Wunderbar, with a release date of 28 September 2018. Following this announcement, a video was launched for the previously released single "Don't Lose It". The video is a parody of reality talent contests, such as The Voice and Idols, and features cameos from many Australian musicians and personalities, such as Jimmy Barnes, Jane Gazzo, Molly Meldrum, Daryl Braithwaite and Murray Cook. Wunderbar was recorded over a six-week period in February 2018, in Berlin, Germany, with producer Tobias Kuhn. Kuhn was brought on as producer after being recommended by German punk band, Die Toten Hosen. Wunderbar peaked at #3 on the ARIA charts. Musical style and influences The Living End consider themselves to be a rock 'n' roll band based on punk ethics, citing The Clash, Iggy Pop, The Who and The Jam as influences and bands with whom they share the same ideals, making a social commentary on what's going on around them. They have also been compared favorably to 1990s punk revivalists Rancid. However, the band do not consider themselves a punk band, more a rock 'n' roll band who are influenced by punk. Allmusic's Stephen Thomas Erlewine reviewed their debut album, he noted their "sound owes far more to the Ramones than it does to Eddie Cochran, or even the Clash, but they've cleverly appropriated certain rockabilly signatures – most ridiculously, the upright acoustic bass – that give their homage to the golden age of punk a bit of charm". Cheney regards 1950s rock 'n' roll, including Elvis Presley, as his greatest influence and first musical love which, along with 1980s rockabilly revival band Stray Cats, the band's sound was based on. Owen has said that his favourite bands include Stray Cats, Reverend Horton Heat, Midnight Oil, The Clash, The Jam, Green Day, Sublime, Bodyjar, The Brian Setzer Orchestra, Rancid, The Beatles and Supergrass. Owen regards Lee Rocker of Stray Cats as his main performance influence, mimicking the right hand movements of Rocker on the upright bass when he first learnt how to play. As The Runaway Boys the trio had performed 1950s rock revival to "all the jivers and rock 'n' rollers". They also regard Australian pub rock as an important influence on the band, something the members grew up with and appreciated. Other rockabilly influences include Reverend Horton Heat and Eddie Cochran Their rockabilly influences were tempered by exposure to differing forms "[w]e'd support a jazz band one night, and a metal band the following. It helped us a lot". Allmusic's MacKenzie Wilson found that by Roll On the group had grown up "but continue to rampage on with their rowdy punkabilly ... their sophomore effort pulls toward their Aussie rock roots (AC/DC, Rose Tattoo) and a touch of British class for an eager modification". They acknowledge the inspiration of 1970s punk groups and The Sharp. Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict" The Worldwide Home of Australasian Music and More Online website reviewed their early releases, with The Living End described as "anthemic and attitudinous brand of rockabilly-meets-punk (circa Clash not SoCal)"; Roll On had them as "kings of rockapunkerbilly"; for Modern Artillery Cheney's lyrics were lauded with "every time I expect the quality to wane, a new level is reached" and the band itself showed that "Nobody plays nitro-powered punkabilly faster or tighter than this combo and Modern Artillery represents the band's finest hour". However Allmusic's Johnny Loftus found that album showed that the "bawdy gang vocals of 2001's Roll On have been replaced by sculpted multi-tracking ... guitars punch mightily, and the choruses detonate, but they do in colors easily identifiable to a throng of American baby punks with silver safety pins in their mouths". Allmusic's Hal Horowitz found that by State of Emergency the group "takes its Stray Cats strut and Reverend Horton Heat bluster and continues to channel it into a more commercially viable pop/punk sound ... [it] sounds more like a buffed up Jam album, all snappy hooks and impassioned vocals over a rollicking set of songs". Fellow Allmusic reviewer Adam Greenberg found that on White Noise the group "experiments a bit with new sounds but also seems to hang right on the edge of what they had been doing previously". Dave Donnelly opined that the band "have been mining the territory between pop-punk and rockabilly for well over a decade now, and their experience shines through in the slick musicianship" of The Ending Is Just the Beginning Repeating. Amongst other bands, Sum 41 guitarist Dave Baksh has suggested that it would be great if he could tour with The Living End, saying that they're all "really good musicians". Collaborations The Living End have made recordings with many popular bands and artists. In 1998, just as they were gaining popularity in Australia, they performed at "Tour of Duty" for the peace keepers in East Timor. At this, their first live concert to Australians, they performed two tracks from what was their upcoming album, as well as performing with The Angels' frontman Doc Neeson and "Jingle Bell Rock" with Australian pop singer Kylie Minogue. In December 1998, supporting the German band Die Toten Hosen they played a cover of Slade's "Merry Christmas" with them on 26 December 1998 in Düsseldorf, as part of Die Toten Hosen's 1998 Christmas tour of Germany. The two bands met on the 1998 inaugural Warped Tour of Australia, New Zealand, Japan and Hawaii. In early 2001 The Living End performed as the support act for AC/DC during the Australian leg of their Stiff Upper Lip world tour. For their 2000 release, How It Works, Cheney performed backing vocals on Bodyjar's song "Halfway Around The World". Lead singer and guitarist Chris Cheney was also a member of the "super group" The Wrights who released covers of Stevie Wright's songs, "Evie Parts 1, 2 & 3" after performing "Evie Part 1" at the 2004 Australian Music Industry's ARIA Music Awards. Cheney also played guitar and contributed backing vocals to "Private School Kid" on Sarah McLeod's (formerly of The Superjesus) debut solo album. Cheney appeared as a guest guitarist on Stephen Cummings Firecracker album. The Living End performed alongside Normie Rowe performing two of Normie's hits "Que Sera Sera" and "Shakin' All Over" at the 2005 ARIA Hall of Fame. In 2005, the band recorded a version of Ashton, Gardner and Dyke's "Resurrection Shuffle" with Jimmy Barnes on his duet album Double Happiness. The Living End also appeared on Australian country and western music artist Kasey Chambers' album Barricades & Brickwalls, contributing the music and backing vocals to "Crossfire". On Australian band Jet's live DVD, Right Right Right, Chris Cheney appears at the end of the recorded concert to feature on a cover of Elvis Presley's "That's Alright Mamma". Chris Cheney also played "I Fought the Law" with Green Day at their Melbourne concert on 17 December 2005. Double bassist Scott Owen appeared on Australian legend Paul Kelly's Foggy Highway album, playing bass on "Song of the Old Rake". Scott also appeared in the film clip for the track. Cheney was the guest guitarist on the song, "Something More", which appears on the album, Lose Your Delusion, by Melbourne duo Over-reactor. Cheney will also feature on Grinspoon's seventh studio album playing a guitar solo. The Living End have also featured on Jimmy Barnes' album, 30:30 Hindsight, which was released in 2014, where they covered "Lay Down Your Guns". The song was then released as a music video to assist in the promotion of the album. In 2017, Chris Cheney featured on the Luke Yeoward's album Ghosts, with vocals and guitar contribution to the song "Whose Side Are You On?" Members Current Chris Cheney – lead guitar, lead vocals (1994–present) Scott Owen – double bass, bass guitar, backing vocals (1994–present) Andy Strachan – drums, backing vocals (2002–present) Live/touring members Adrian Lombardi – rhythm guitar, backing vocals (2011–2013, 2017) Former Joe Piripitzi – drums (1994–1996) Travis Demsey – drums (1996–2002) Timeline Discography Studio albums The Living End (1998) Roll On (2000) Modern Artillery (2003) State of Emergency (2006) White Noise (2008) The Ending Is Just the Beginning Repeating (2011) Shift (2016) Wunderbar (2018) Awards and nominations They hold the record for the most consecutive entries in Triple J's Hottest 100. The band made the chart every year between 1997 and 2006. The band won a total of nine awards at the Jack Awards – for Australian live music – from the first ceremony in 2004 to the final one in 2007. They have won more than any other artist as a whole and individually for 2006 and 2005 (2005 was actually a tie with Grinspoon on two awards). Of these, three awards for Best Guitarist (Cheney), one award for Best Live Male Performer (Cheney), two awards for Best Bassist (Owen), one award for Best Drummer (Strachan), one award for Best Live Band, and one award for Best Live Performance (on Channel V). In July 2009, Prisoner of Society was voted number 34 by the Australian public in "Triple J Hottest 100 of All Time". In July 2011, the band's self-titled album, The Living End, was voted number 4 by the Australian public in "Triple J Hottest 100 Australian Albums of All Time". APRA Awards The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA). \|- \| 2009 \|\| "White Noise" – Chris Cheney \|\| Song of the Year \|\| \|- \|rowspan="3"\| 2010 \|\| "Raise the Alarm" – Chris Cheney \|\| Most Played Australian Work \|\| \|- \| "Raise the Alarm" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| "White Noise" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| 2020 \|\| "Otherside" - Chris Cheney, Scott Owen, Andy Strachan, Tobias Kuhn \|\| Most Performed Rock Work of the Year \|\| \|- ARIA Music Awards The ARIA Music Awards are an annual series presented by Australian Recording Industry Association (ARIA) since 1987, which recognise excellence, innovation, and achievement across all genres of Australian music. The Living End have won a total of six awards from thirty nominations. Video games "End of the World" was featured in Tony Hawk's Underground 2, a skateboarding video game. "Carry Me Home" was featured in the video game Guitar Hero II as a playable song using the guitar peripheral. "West End Riot" was featured in the video game World of Outlaws: Sprint Cars 2002 in the opening film clip. "Prisoner of Society" was featured in the video game Guitar Hero: World Tour as a playable song, as well as in the Guitar Hero: World Tour meme 'Bike Hero'. The song was included in a 19 December 2008 DLC release for the Xbox 360 karaoke video game Lips. It was also featured in the game Supercross 2000 by Electronic Arts, along with their track "I Want a Day." See also References External links Official website Adeline Records artists APRA Award winners ARIA Award winners Australian punk rock groups Dine Alone Records artists Dew Process artists Musical groups from Melbourne Australian musical trios Psychobilly groups Pub rock musical groups	true	[ "\"Do What U Like\" is the debut single by English boy band Take That. It was released on 22 July 1991 as the lead single from their debut studio album, Take That & Party (1992).\n\nBackground\nThe song was written by Gary Barlow and Ray Hedges, and it was produced by Hedges with additional production by Graham Stack. \"Do What U Like\" was released on 15 July 1991 as the lead single from Take That's debut album Take That & Party (1992). The single was released on then-manager Nigel Martin-Smith's record label Dance U.K. and distributed by BMG (to which, through RCA Records division, later signed). The song failed to chart in any country, and was also the only single not to be included on the band's second greatest hits compilation, Never Forget – The Ultimate Collection (2005).\n\nOriginally released only on 7\" and 12\" vinyl records and as cassette single, it received a CD single reissue in 1992, from their at-time home label RCA Records, only in Australia.\n\nIn concert\nDuring the band's early television appearances and outdoor shows, the song was a recurring number to play. They performed it during the \"Pops\" tour with Mini-Take That, a preteen group that sang the material of the band.\n\nFor the \"Nobody Else\", and the subsequent \"Ultimate Tour 2006\" and \"Beautiful World Tour 2007\", the song was never played, because the band members felt that the high energy dance choreography was not possible for them to do. However, during Take That Present: The Circus Live, it was included in a medley of their earliest singles from Take That and Party with Jason and Howard performing the complicated moves and classic routines for \"Promises\", \"It Only Takes a Minute\" and \"Take That and Party\".\n\nMusic video\nThe low-budget music video for \"Do What U Like\", co-directed by former BBC Radio 1 DJ and The Old Grey Whistle Test presenter Rosemary \"Ro\" Barratt (née Newton) and MTV Europe director Angie Smith, was shot at Vector Television studios in Heaton Mersey on 21 June 1991. Featuring the band getting naked, bare buttocks and smearing jelly over themselves, the video was banned from daytime television, and at the time was only shown on Pete Waterman's late night show The Hitman and Her.\n\nReaction to the video (and, to an extent, the song) among the bandmates has been somewhat negative. In the documentary Take That: For the Record, Barlow admits that neither the song nor video were brilliant, but they were important in helping the band getting noticed. The video was also omitted from the 2005 video compilation Never Forget - The Ultimate Collection. Otherwise, it became available in digital distribution, streaming services and on band's official YouTube channel.\n\nPersonnel\nGary Barlow – lead vocals\nHoward Donald – backing vocals\nJason Orange – backing vocals\nMark Owen – backing vocals\nRobbie Williams – backing vocals\n\nTrack listings\nAustrian CD single (CDDUK2)\n \"Do What U Like\" (Club Mix) – 6:14\n \"Do What U Like\" (Radio Mix) – 3:06\n \"Waiting Around\" – 2:56\n\nUK 7\" vinyl (DUK2)\n \"Do What U Like\" (Radio Mix) – 3:06\n \"Waiting Around\" – 2:56\n\nUK cassette (CADUK2)\n \"Do What U Like\" (Radio Mix) – 3:06\n \"Waiting Around\" – 2:56\n\nUK 12\" vinyl (12DUK2)\n \"Do What U Like\" (Club Mix) – 6:14\n \"Do What U Like\" (Radio Mix) – 3:06\n \"Waiting Around\" – 2:56\n\nOfficial versions\n Radio mix (3:06)\n Club mix (6:15)\n 12\" mix (5:06)\n\nReferences\n\n1991 debut singles\n1991 songs\nTake That songs\nSongs written by Gary Barlow\nSongs written by Ray Hedges\nSong recordings produced by Ray Hedges\nSong recordings produced by Graham Stack (record producer)", "\"Romeo Me\" is a song by Britpop band Sleeper, written by the band's vocalist and guitarist Louise Wener. \"Romeo Me\" was the second and final single released from Sleeper's third album Pleased to Meet You and became the group's eighth and last top forty hit on the UK Singles Chart. \n\n\"Romeo Me\" was originally titled \"Romeo & Juliet\", and the chorus lyrics reference the titular couple, Mark Anthony and Cleopatra as well as Marilyn Monroe and Joe DiMaggio, who feature on the cover art for the vinyl format. B-side \"Cunt London\" was the working title for the third album.\n\nTrack listing\n\nUK 7\" single Indolent SLEEP 017 (No'd ltd edition, clear vinyl)\n\n\"Romeo Me\" \n\"Cunt London\" \n\nUK CD single Indolent SLEEP 017CD1\n\n\"Romeo Me\" \n\"This Is the Sound of Someone Else\" \n\"What Do I Get\"\n\"Nice Guy Eddie (Peel Session)\"\n\nUK CD single Indolent SLEEP 017CD2\n\n\"Romeo Me\" \n\"When Will You Smile?\" \n\"What Do I Do Now? (Evening Session)\"\n\"Motorway Man (Artic mix)\"\n\nComprehensive Charts\n\nReferences\n\nExternal links\n\"Romeo Me\" music video\n\n1997 singles\nSleeper (band) songs\nSongs written by Louise Wener\nSong recordings produced by Stephen Street\n1997 songs" ]
[ "The Living End", "The Longnecks to Modern ARTillery (2002-2005)", "What is The Longnecks?", "The Living End developed a side project, The Longnecks,", "What was involved with this side project?", "to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention.", "Did that album win any awards or honors?", "I don't know.", "What else did the band do during this time?", "In mid-2002 The Living End recorded four tracks," ]	C_58dfb949fb84497aa3cc8f32549381b6_0	What were those songs?	5	What were the four songs that The Living End recorded in mid-2002?	The Living End	In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboard's Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboard's Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997-2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. CANNOTANSWER	"One Said to the Other",	The Living End are an Australian punk rockabilly band from Melbourne, formed in 1994. Since 2002, the line-up consists of Chris Cheney (vocals, guitar), Scott Owen (double bass, vocals), and Andy Strachan (drums). The band rose to fame in 1997 after the release of their EP Second Solution / Prisoner of Society, which peaked at No. 4 on the Australian ARIA Singles Chart. They have released eight studio albums, two of which reached the No. 1 spot on the ARIA Albums Chart: The Living End (October 1998) and State of Emergency (February 2006). They have also achieved chart success in the U.S. and the United Kingdom. The Band was nominated 27 times and won five awards at the Australian ARIA Music Awards ceremonies: "Highest Selling Single" for Second Solution / Prisoner of Society (1998), "Breakthrough Artist – Album" and "Best Group" for The Living End (1999), as well as "Best Rock Album" for White Noise (2008) and The Ending Is Just the Beginning Repeating (2011). In October 2010, their debut album was listed in the book "100 Best Australian Albums". Australian musicologist Ian McFarlane described the group as "one of Australia’s premier rock acts. By blending a range of styles (punk, rockabilly and flat out rock) with great success, The Living End has managed to produce anthemic choruses and memorable songs in abundance". History Beginnings (1994–1996) The Living End were formed in 1994 by Chris Cheney and Scott Owen, who had met years earlier in primary school through their older sisters and began performing together from 1990 while attending Wheelers Hill Secondary College in Melbourne. Cheney and Owen had their first public gig at The Rob Roy in Melbourne in 1991. Cheney was a fan of rockabilly group Stray Cats and this prompted Owen, who originally played piano, to switch to double bass. The pair formed a cover band, The Runaway Boys, which performed Stray Cats and The Clash material. That group were named after a track, of the same name, from the Stray Cats self-titled debut album (February 1981). The Runaway Boys initially played in the local rockabilly music scene but expanded their audience by performing in regional towns and backing popular Melbourne cover band Mercury Blue at the Wheelers Hill Hotel/Pub. Cheney later recalled "[w]e played to all the jivers and rock 'n' rollers ... And we slowly drifted into Melbourne's rockabilly scene". As Cheney and Owen persevered, the band went through several drummers, while they were still attending school. By 1994, Cheney and Owen were writing their own material and decided to change the band's name to The Living End – a reference to the film, Rock Around the Clock (1956). According to Cheney "It's an old '50s term, meaning 'far out', 'the greatest' ... We were still into the whole '50s thing, but we wanted a neutral name, one that didn't suggest any one style of music". With Cheney on lead guitar and lead vocals, and Owen on double bass and backing vocals, the group settled on Joe Piripitzi as their drummer. Cheney considered Piripitzi to be ideal due to his charismatic appearance. During that year they recorded a track, "Headlines", which had been co-written by Cheney and Owen. The group sent a T-shirt and demo tape to Green Day guitarist and lead vocalist, Billie Joe Armstrong, and landed a support slot for Green Day's 1995 Australian tour. After that tour, The Living End recorded additional tracks for their debut extended play, Hellbound, which received moderate support from community radio stations. It was produced by the group and included "Headlines" from the previous year. Ed Nimmervoll, an Australian musicologist, described the EP's sound: "they turned their back on '50s rock revivalism and adapted that instrumentation to original songs steeped in UK punk". In November 1995, the trio recorded their second EP, It's for Your Own Good, which appeared in the following June. The six-track EP was co-produced by Lindsay Gravina (Underground Lovers, Cosmic Psychos), Mike Alonso (Jericho) and The Living End for the Rapido label. It included their first radio airplay hit, "From Here on In", which was placed on high rotation by national youth radio network, Triple J. Shortly after, Piripitzi was fired as his lifestyle choices were holding back the band. He was replaced on drums by Travis Demsey (later in The Knockout Drops). With Demsey the group appeared at major festivals: Pushover and the Falls Festival. Demsey's drum style was compared with The Who's Keith Moon. "From Here on In" was used on the soundtrack for the 1998 film, Occasional Course Language. Breakout single to debut album (1997–1999) The Living End toured Australia for a year, then in August 1997 they recorded new material to sell at their live shows. Their double A-sided single, "Second Solution" / "Prisoner of Society", was issued in January the following year. Also that month they had supported The Offspring on the Australian leg of their tour. "Second Solution" / "Prisoner of Society" peaked at No. 4 on the ARIA Singles Chart, and was certified double-platinum by ARIA for shipment of 140,000 copies. At the ARIA Music Awards of 1998 it won the Highest Selling Single category; and eventually became the highest selling Australian single of the 1990s. It lasted a record-breaking 47 weeks in the Top 50. In October 1998 it peaked at No. 28 on the New Zealand Singles Chart. It was later featured in the game, Guitar Hero World Tour. "Second Solution" was used in the soundtrack for the 2002 movie, Cheats, which starred Trevor Fehrman, Matthew Lawrence, and Mary Tyler Moore. Early in 1998 "Prisoner of Society" was issued as a separate single in the United Kingdom and, the following year, in the US. The single appeared in the top 200 of the UK Singles Chart, and peaked at No. 23 on the Billboards Alternative Songs Chart. The band signed with Modular Recordings for the release of their debut self-titled album, which appeared on 12 October 1998, and was co-produced by Gravina with the trio. It peaked at No. 1 on the ARIA Albums Chart, became the then-second highest-selling debut rock album in Australian music history and, by 1999, was certified 4x Platinum for shipment of 280,000 units. Their next Australian single, "Save the Day", was issued in September 1998, a month ahead of the album. It made the top 30 on the ARIA Singles Chart. It became their highest charting hit on the New Zealand Singles Chart, where it reached No. 10. From the album, a total of six singles were released including a live cover version of "Tainted Love", which was issued as a radio-only single on Triple J. At the ARIA Music Awards of 1999, The Living End won two more awards: Best Group and Breakthrough Artist – Album. At the ceremony they were also nominated for Album of the Year and Highest Selling Album. In October 2010 their debut album was listed in the book 100 Best Australian Albums. Roll On (2000–2001) The Living End's second album, Roll On, was recorded during July 2000 with Nick Launay (Midnight Oil, Models, Silverchair) producing and appeared in November that year. It peaked at No. 8 on the ARIA Albums Chart and reached the top 40 in New Zealand. Although Roll On was a more creative work, Nimmervoll mentioned that they had "broadened their musical scope while keeping in tact [sic] what made them unique - the instrumentation and the socially-aware lyrics". The album did not achieve the status of their earlier album as it was certified platinum for shipment of 70,000 copies. Despite this, fans consider it to be as strong as the self-titled album; "[it's] an absolute scorcher! That's what years of live honing can do for a band that was already white-hot". Cheney later stated that he was trying to prove to critics that The Living End were not a band simply defined by their hit, "Prisoner of Society", and the album showed this by displaying other influences, as well as their traditional fast-paced rockabilly music. Rolling Stone Jenny Eiscu compared it to The Clash's creative breakthrough, London Calling (December 1979), as they "stomp all over the boundaries between punk, reggae, rockabilly and plain old rock & roll – and it still sounds like a revelation, twenty-two years after [T]he Clash did it. The pupils don't quite outpace the masters here ... But the band is obviously having such a riotously good time that you'd be a sucker not to stomp your foot and join the party". Much of the style was comparable to 1980s hard rock and pub rock, as well as many tracks being obscure mixes of many ideas, resulting in 'procrastinating' structures. This defined the album's creativity. The album's first two singles, "Pictures in the Mirror" and the title track, peaked into the top 20 on the ARIA Singles Chart. "Pictures in the Mirror" also reached the top 20 in New Zealand, while "Roll On" peaked at No. 33 on the Billboard Alternative Songs Chart, and appeared in the top 150 of the UK Singles Chart. In March 2001 Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict". The trio received US-wide coverage by playing on both Conan O'Brien's and David Letterman's late-night variety shows. The album included "Carry me Home", which appeared on the Guitar Hero II soundtrack. However, touring in support of Roll On and the related singles was halted after Cheney had a car accident on the Great Ocean Road, rendering him unable to play for a significant period of time: he was "hospitalised for 2 months". He had been on travelling to the house of a member of fellow Australian band and tour mates, Bodyjar. The Longnecks to Modern ARTillery (2002–2005) In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboards Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboards Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997–2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. State of Emergency (2005–2007) The Living End's fourth studio album, State of Emergency, was recorded in Byron Bay with Launay producing, following the band's appearance at Splendour in the Grass. The recording and the artwork was completed in mid-December 2005, and the album was released on 4 February the following year. The Living End had again played gigs as The Longnecks, before recording the album, to test out the new material. It peaked at No. 1 on the ARIA Albums Chart in its first week, it reached top 40 in New Zealand, and on Billboards Alternative Songs Chart. The lead single, "What's on Your Radio?", had been issued in November 2005, and reached No. 9 on the ARIA Singles Chart. The second single, "Wake Up", was released in February just after the album and reached No. 5. It became their highest charting single in New Zealand where it peaked at No. 12. The third single, "Long Live the Weekend", was released in May, and appeared in the top 30 in Australia. The fourth single, "Nothing Lasts Forever", was released in August and also reached the top 40. The album was nominated for the 2006 J Award. The album was issued in the US through Green Day's Armstrong's Adeline Records along with Eastwest Records on 11 July 2006 and in Canada a week later. Another release in support of the album was the DVD, Live at Festival Hall, on 30 September, which captured a Melbourne performance during the State of Emergency Tour, and featured many songs from the album, and earlier tracks. On 20 June 2006 the band received four Jack Awards: Best Live Band, Best Live TV Performance, Best Performer (Cheney) and Best Drummer (Strachan). Thereby the group achieved the most awards in a year and, at eight overall, the most by any artist. During the 2006 State of Emergency tour, the Living End's show in Milwaukee was cancelled, so it was rescheduled on 2 December as a support act for +44. On 6 October Cheney left the band because he felt burnt out, he was sick of the constant touring, as well as experiencing writer's block. Cheney felt that he needed to get away from the band and develop other aspects of his life. This information was kept confidential until 2008. Early in 2007 Cheney had isolated himself from his bandmates while trying to write tracks for a follow-up to State of Emergency. He was disappointed with the results so he took up yoga, spent time painting and being around his baby daughter whilst taking a break from music for the first time in 10 years. During this period the band released a radio-only single, a cover version of Cold Chisel's "Rising Sun", available on the Standing on the Outside (March 2007), a Cold Chisel tribute album by various Australian artists. After Cheney overcame his writer's block and was convinced not to leave the band, the group played The Great Escape in April 2007 and restarted work on their fifth studio album. They toured the UK in August that year, releasing State of Emergency there on 13 August through Deck Cheese Records. White Noise (2008–2009) The Living End released their fifth studio album, White Noise, on 19 July 2008. The trio had performed at The Ages Entertainment Guide's EG Awards in Melbourne in December 2007. Two new songs had been premiered, "Raise the Alarm" and "How Do We Know". During February the following year they played gigs as The Longnecks to test out more new material prior to recording. The gigs were described by Cheney as the most exciting of their career, "there is a heaviness and depth to the new stuff that we simply haven't had before". Pre-production for the album took place at Studio One in Collingwood, Melbourne with producer Kalju Tonuma. This included various co-writes including the track "Sum of Us". After the sonic blueprint of the album was established, producer John Agnello (Sonic Youth, The Hold Steady) was engaged to commence recording at Water Music Studios in Hoboken, New Jersey, for their new label, Dew Process, on the week beginning 31 March. Cheney felt Agnello "[could] capture the energy and attack we are after". Brendan O'Brien mixed the record at Silent Sound Studios in Atlanta, Georgia. The Ages Andrew Murfett declared they "have never been able to convey the energy and power of their live shows on record ... [this album] is fresh, diverse and relatively honest, and TLE suddenly got a lot more interesting". White Noise peaked at No. 2 on the ARIA Albums Chart in its first week, it reached No. 18 in New Zealand – becoming their highest charting album there. In support of the album, they made TV appearances, including a performance on 5 October at the 2008 NRL Grand Final at ANZ Stadium. At the ARIA Music Awards of 2008, White Noise was awarded the Best Rock Album, over efforts from Gyroscope and Faker. The first single issued from the album included the title track. Another song, "How Do We Know", was simultaneously released as a radio-only track on Triple J, and was heard on other radio stations, such as Nova 969. The tracks formed a double A-sided single, which was issued both physically and digitally in July 2008. It reached No. 12 on the ARIA Singles Chart, and top 30 in New Zealand. White Noise had almost a year-and-a-half of writing behind it, showing "more of a hard rock influence" and the group declared it's "the best thing we've ever done". In September that year a second single, "Moment in the Sun", was released to Australian radio; it was physically and digitally released a month later. In December "Raise the Alarm" was released to radio as the third single. A music video had been issued containing footage of live performances during the White Noise Tour and some others. In February 2009 the band made a secret appearance in Melbourne supporting the Stray Cats on their Farewell Tour. In May The Living End started the Raise the Alarm Tour. The Ending Is Just the Beginning Repeating (2010–2015) During September and October 2010 The Living End performed under another alias, Safety Matches, testing new material, similar to the previous usage of The Longnecks, for their sixth album, The Ending Is Just The Beginning Repeating. The tracks vetted included "United", "Universe", "Away from the City" (then-titled "Black and White"), the title track, "Resist" and "Heatwave". In the January 2011 edition of The Living End's News, Cheney revealed "[h]aving spent all of 2010 writing album 6 we have amassed something in the vicinity of 40+ songs to choose from... There are some really different ideas kicking around this time but the emphasis has been on creating a cohesive album that is heavy, melodic and overall very anthemic". The title track was premiered as the lead single in early June 2011 on national radio stations. The album appeared on 22 July that year, it was produced by Nick DiDia (Powderfinger). On 17 July Triple J played tracks from the album with further tracks played through the week prior to its release. The Living End also allowed fans on their mailing list a 24-hour stream of the record on 18 July. Fans could listen as many times as they wanted and were able to comment on the stream. In support of the album a live stream of a performance occurred on YouTube on 19 July. This featured an additional guitarist as well as Cheney playing rhythm guitar. From 2011 the band has employed Adrian Lombardi (ex-Mid Youth Crisis, Blueline Medic) on stage as their second guitarist. In July 2012 Cheney announced on Triple J that throughout November and December of that year, as part of The Retrospective Tour, they would perform each of their six studio albums over a week, in each of five Australian state capitals (Perth, Adelaide, Sydney, Brisbane and Melbourne). The Living End played in the UK and Germany throughout August and September 2013, and headlined at the Summernats 27 in Canberra in 2014. The Living End also played at the 2014 Soundwave Festival in Australia as a replacement for Stone Temple Pilots who had to pull out due to scheduling conflicts with the recording of their next album. The Living End supported Cold Chisel in their One Night Stand tour, with shows at Townsville, Darwin, Perth, Macedon Ranges and Sydney. Shift (2015–2017) The Living End announced they finished their seventh studio album in 2015. On 15 March 2016, the band released a song called "Monkey" as a taste of the album. "Monkey" is not the first official single off the album but was played live at the Decades Music Festival in 2015, along with another track called "Death". On 21 March 2016 the band officially announced the new album, Shift with a release date of 13 May 2016, alongside a national tour and the release of the single, "Keep on Running". "Staring Down The Barrel", the final single from the album, was released in October 2016. The song was inspired by Cheney's battles with alcohol. Wunderbar (2018–present) On 22 June 2018, The Living End released a new song, "Don't Lose It". The band played two special pub shows in Sydney and Melbourne to launch the new single. On 10 July 2018, the band officially announced their eighth album, Wunderbar, with a release date of 28 September 2018. Following this announcement, a video was launched for the previously released single "Don't Lose It". The video is a parody of reality talent contests, such as The Voice and Idols, and features cameos from many Australian musicians and personalities, such as Jimmy Barnes, Jane Gazzo, Molly Meldrum, Daryl Braithwaite and Murray Cook. Wunderbar was recorded over a six-week period in February 2018, in Berlin, Germany, with producer Tobias Kuhn. Kuhn was brought on as producer after being recommended by German punk band, Die Toten Hosen. Wunderbar peaked at #3 on the ARIA charts. Musical style and influences The Living End consider themselves to be a rock 'n' roll band based on punk ethics, citing The Clash, Iggy Pop, The Who and The Jam as influences and bands with whom they share the same ideals, making a social commentary on what's going on around them. They have also been compared favorably to 1990s punk revivalists Rancid. However, the band do not consider themselves a punk band, more a rock 'n' roll band who are influenced by punk. Allmusic's Stephen Thomas Erlewine reviewed their debut album, he noted their "sound owes far more to the Ramones than it does to Eddie Cochran, or even the Clash, but they've cleverly appropriated certain rockabilly signatures – most ridiculously, the upright acoustic bass – that give their homage to the golden age of punk a bit of charm". Cheney regards 1950s rock 'n' roll, including Elvis Presley, as his greatest influence and first musical love which, along with 1980s rockabilly revival band Stray Cats, the band's sound was based on. Owen has said that his favourite bands include Stray Cats, Reverend Horton Heat, Midnight Oil, The Clash, The Jam, Green Day, Sublime, Bodyjar, The Brian Setzer Orchestra, Rancid, The Beatles and Supergrass. Owen regards Lee Rocker of Stray Cats as his main performance influence, mimicking the right hand movements of Rocker on the upright bass when he first learnt how to play. As The Runaway Boys the trio had performed 1950s rock revival to "all the jivers and rock 'n' rollers". They also regard Australian pub rock as an important influence on the band, something the members grew up with and appreciated. Other rockabilly influences include Reverend Horton Heat and Eddie Cochran Their rockabilly influences were tempered by exposure to differing forms "[w]e'd support a jazz band one night, and a metal band the following. It helped us a lot". Allmusic's MacKenzie Wilson found that by Roll On the group had grown up "but continue to rampage on with their rowdy punkabilly ... their sophomore effort pulls toward their Aussie rock roots (AC/DC, Rose Tattoo) and a touch of British class for an eager modification". They acknowledge the inspiration of 1970s punk groups and The Sharp. Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict" The Worldwide Home of Australasian Music and More Online website reviewed their early releases, with The Living End described as "anthemic and attitudinous brand of rockabilly-meets-punk (circa Clash not SoCal)"; Roll On had them as "kings of rockapunkerbilly"; for Modern Artillery Cheney's lyrics were lauded with "every time I expect the quality to wane, a new level is reached" and the band itself showed that "Nobody plays nitro-powered punkabilly faster or tighter than this combo and Modern Artillery represents the band's finest hour". However Allmusic's Johnny Loftus found that album showed that the "bawdy gang vocals of 2001's Roll On have been replaced by sculpted multi-tracking ... guitars punch mightily, and the choruses detonate, but they do in colors easily identifiable to a throng of American baby punks with silver safety pins in their mouths". Allmusic's Hal Horowitz found that by State of Emergency the group "takes its Stray Cats strut and Reverend Horton Heat bluster and continues to channel it into a more commercially viable pop/punk sound ... [it] sounds more like a buffed up Jam album, all snappy hooks and impassioned vocals over a rollicking set of songs". Fellow Allmusic reviewer Adam Greenberg found that on White Noise the group "experiments a bit with new sounds but also seems to hang right on the edge of what they had been doing previously". Dave Donnelly opined that the band "have been mining the territory between pop-punk and rockabilly for well over a decade now, and their experience shines through in the slick musicianship" of The Ending Is Just the Beginning Repeating. Amongst other bands, Sum 41 guitarist Dave Baksh has suggested that it would be great if he could tour with The Living End, saying that they're all "really good musicians". Collaborations The Living End have made recordings with many popular bands and artists. In 1998, just as they were gaining popularity in Australia, they performed at "Tour of Duty" for the peace keepers in East Timor. At this, their first live concert to Australians, they performed two tracks from what was their upcoming album, as well as performing with The Angels' frontman Doc Neeson and "Jingle Bell Rock" with Australian pop singer Kylie Minogue. In December 1998, supporting the German band Die Toten Hosen they played a cover of Slade's "Merry Christmas" with them on 26 December 1998 in Düsseldorf, as part of Die Toten Hosen's 1998 Christmas tour of Germany. The two bands met on the 1998 inaugural Warped Tour of Australia, New Zealand, Japan and Hawaii. In early 2001 The Living End performed as the support act for AC/DC during the Australian leg of their Stiff Upper Lip world tour. For their 2000 release, How It Works, Cheney performed backing vocals on Bodyjar's song "Halfway Around The World". Lead singer and guitarist Chris Cheney was also a member of the "super group" The Wrights who released covers of Stevie Wright's songs, "Evie Parts 1, 2 & 3" after performing "Evie Part 1" at the 2004 Australian Music Industry's ARIA Music Awards. Cheney also played guitar and contributed backing vocals to "Private School Kid" on Sarah McLeod's (formerly of The Superjesus) debut solo album. Cheney appeared as a guest guitarist on Stephen Cummings Firecracker album. The Living End performed alongside Normie Rowe performing two of Normie's hits "Que Sera Sera" and "Shakin' All Over" at the 2005 ARIA Hall of Fame. In 2005, the band recorded a version of Ashton, Gardner and Dyke's "Resurrection Shuffle" with Jimmy Barnes on his duet album Double Happiness. The Living End also appeared on Australian country and western music artist Kasey Chambers' album Barricades & Brickwalls, contributing the music and backing vocals to "Crossfire". On Australian band Jet's live DVD, Right Right Right, Chris Cheney appears at the end of the recorded concert to feature on a cover of Elvis Presley's "That's Alright Mamma". Chris Cheney also played "I Fought the Law" with Green Day at their Melbourne concert on 17 December 2005. Double bassist Scott Owen appeared on Australian legend Paul Kelly's Foggy Highway album, playing bass on "Song of the Old Rake". Scott also appeared in the film clip for the track. Cheney was the guest guitarist on the song, "Something More", which appears on the album, Lose Your Delusion, by Melbourne duo Over-reactor. Cheney will also feature on Grinspoon's seventh studio album playing a guitar solo. The Living End have also featured on Jimmy Barnes' album, 30:30 Hindsight, which was released in 2014, where they covered "Lay Down Your Guns". The song was then released as a music video to assist in the promotion of the album. In 2017, Chris Cheney featured on the Luke Yeoward's album Ghosts, with vocals and guitar contribution to the song "Whose Side Are You On?" Members Current Chris Cheney – lead guitar, lead vocals (1994–present) Scott Owen – double bass, bass guitar, backing vocals (1994–present) Andy Strachan – drums, backing vocals (2002–present) Live/touring members Adrian Lombardi – rhythm guitar, backing vocals (2011–2013, 2017) Former Joe Piripitzi – drums (1994–1996) Travis Demsey – drums (1996–2002) Timeline Discography Studio albums The Living End (1998) Roll On (2000) Modern Artillery (2003) State of Emergency (2006) White Noise (2008) The Ending Is Just the Beginning Repeating (2011) Shift (2016) Wunderbar (2018) Awards and nominations They hold the record for the most consecutive entries in Triple J's Hottest 100. The band made the chart every year between 1997 and 2006. The band won a total of nine awards at the Jack Awards – for Australian live music – from the first ceremony in 2004 to the final one in 2007. They have won more than any other artist as a whole and individually for 2006 and 2005 (2005 was actually a tie with Grinspoon on two awards). Of these, three awards for Best Guitarist (Cheney), one award for Best Live Male Performer (Cheney), two awards for Best Bassist (Owen), one award for Best Drummer (Strachan), one award for Best Live Band, and one award for Best Live Performance (on Channel V). In July 2009, Prisoner of Society was voted number 34 by the Australian public in "Triple J Hottest 100 of All Time". In July 2011, the band's self-titled album, The Living End, was voted number 4 by the Australian public in "Triple J Hottest 100 Australian Albums of All Time". APRA Awards The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA). \|- \| 2009 \|\| "White Noise" – Chris Cheney \|\| Song of the Year \|\| \|- \|rowspan="3"\| 2010 \|\| "Raise the Alarm" – Chris Cheney \|\| Most Played Australian Work \|\| \|- \| "Raise the Alarm" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| "White Noise" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| 2020 \|\| "Otherside" - Chris Cheney, Scott Owen, Andy Strachan, Tobias Kuhn \|\| Most Performed Rock Work of the Year \|\| \|- ARIA Music Awards The ARIA Music Awards are an annual series presented by Australian Recording Industry Association (ARIA) since 1987, which recognise excellence, innovation, and achievement across all genres of Australian music. The Living End have won a total of six awards from thirty nominations. Video games "End of the World" was featured in Tony Hawk's Underground 2, a skateboarding video game. "Carry Me Home" was featured in the video game Guitar Hero II as a playable song using the guitar peripheral. "West End Riot" was featured in the video game World of Outlaws: Sprint Cars 2002 in the opening film clip. "Prisoner of Society" was featured in the video game Guitar Hero: World Tour as a playable song, as well as in the Guitar Hero: World Tour meme 'Bike Hero'. The song was included in a 19 December 2008 DLC release for the Xbox 360 karaoke video game Lips. It was also featured in the game Supercross 2000 by Electronic Arts, along with their track "I Want a Day." See also References External links Official website Adeline Records artists APRA Award winners ARIA Award winners Australian punk rock groups Dine Alone Records artists Dew Process artists Musical groups from Melbourne Australian musical trios Psychobilly groups Pub rock musical groups	true	[ "\"Those Simple Things\" and \"Daydream\" (sometimes subtitled \"What a Day for a\") are songs by English pop group Right Said Fred, released as a double a-side single, and the fourth and final single from their album Up.\n\n\"Daydream\" is a cover version of the song of the same name by The Lovin' Spoonful.\n\nTrack listings\nUnited Kingdom CD (CD SNOG 4)\n\"Those Simple Things\" (7\" edit) – 3:28\n\"Daydream\" – 3:41\n\"Those Simple Things\" (12\" mix) – 6:19\n\"I'm Too Sexy (Trexmix)\" – 5:26\n\nUnited Kingdom 12\" (12 SNOG 4)\n\"Those Simple Things\" (12\" version)\n\"Daydream\"\n\"Those Simple Things\" (7\" edit)\n\"I'm Too Sexy (Trexmix)\"\n\nUnited Kingdom 7\" (SNOG 4)\n\"Those Simple Things\"\n\"Daydream\"\n\nChart history\n\nReferences\n\n1992 singles\nRight Said Fred songs", "Liberty X have recorded 67 songs which were composed by either the band or external songwriters.\n\nReleased\n\nNotes\nThe following tracks were not released in the UK.\n Super Hits - \"Holding On For You\" (B&Q Remix)\n Unreleased Third V2 Album - \"Wilder\", \"Get Away\", \"Press Rewind\" and \"Bump & Grind\"\n To Those Who Wait - \"Practice What You Preach\", \"Greed\" (Alternative Version) and \"Holding On For You\" (Alternative Version)\n Being Somebody (Japanese Version) - * \"Tell Me What You're Doing Tonight\" and \"Willing To Try\"\n The Hits: Reloaded - \"Fresh\"\n\nReferences\n\n \nLiberty X" ]
[ "The Living End", "The Longnecks to Modern ARTillery (2002-2005)", "What is The Longnecks?", "The Living End developed a side project, The Longnecks,", "What was involved with this side project?", "to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention.", "Did that album win any awards or honors?", "I don't know.", "What else did the band do during this time?", "In mid-2002 The Living End recorded four tracks,", "What were those songs?", "\"One Said to the Other\"," ]	C_58dfb949fb84497aa3cc8f32549381b6_0	What was another song?	6	What was another song recorded by The Living End in mid-2002 besides "One Said to the Other"?	The Living End	In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboard's Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboard's Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997-2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. CANNOTANSWER	"Who's Gonna Save Us?"	The Living End are an Australian punk rockabilly band from Melbourne, formed in 1994. Since 2002, the line-up consists of Chris Cheney (vocals, guitar), Scott Owen (double bass, vocals), and Andy Strachan (drums). The band rose to fame in 1997 after the release of their EP Second Solution / Prisoner of Society, which peaked at No. 4 on the Australian ARIA Singles Chart. They have released eight studio albums, two of which reached the No. 1 spot on the ARIA Albums Chart: The Living End (October 1998) and State of Emergency (February 2006). They have also achieved chart success in the U.S. and the United Kingdom. The Band was nominated 27 times and won five awards at the Australian ARIA Music Awards ceremonies: "Highest Selling Single" for Second Solution / Prisoner of Society (1998), "Breakthrough Artist – Album" and "Best Group" for The Living End (1999), as well as "Best Rock Album" for White Noise (2008) and The Ending Is Just the Beginning Repeating (2011). In October 2010, their debut album was listed in the book "100 Best Australian Albums". Australian musicologist Ian McFarlane described the group as "one of Australia’s premier rock acts. By blending a range of styles (punk, rockabilly and flat out rock) with great success, The Living End has managed to produce anthemic choruses and memorable songs in abundance". History Beginnings (1994–1996) The Living End were formed in 1994 by Chris Cheney and Scott Owen, who had met years earlier in primary school through their older sisters and began performing together from 1990 while attending Wheelers Hill Secondary College in Melbourne. Cheney and Owen had their first public gig at The Rob Roy in Melbourne in 1991. Cheney was a fan of rockabilly group Stray Cats and this prompted Owen, who originally played piano, to switch to double bass. The pair formed a cover band, The Runaway Boys, which performed Stray Cats and The Clash material. That group were named after a track, of the same name, from the Stray Cats self-titled debut album (February 1981). The Runaway Boys initially played in the local rockabilly music scene but expanded their audience by performing in regional towns and backing popular Melbourne cover band Mercury Blue at the Wheelers Hill Hotel/Pub. Cheney later recalled "[w]e played to all the jivers and rock 'n' rollers ... And we slowly drifted into Melbourne's rockabilly scene". As Cheney and Owen persevered, the band went through several drummers, while they were still attending school. By 1994, Cheney and Owen were writing their own material and decided to change the band's name to The Living End – a reference to the film, Rock Around the Clock (1956). According to Cheney "It's an old '50s term, meaning 'far out', 'the greatest' ... We were still into the whole '50s thing, but we wanted a neutral name, one that didn't suggest any one style of music". With Cheney on lead guitar and lead vocals, and Owen on double bass and backing vocals, the group settled on Joe Piripitzi as their drummer. Cheney considered Piripitzi to be ideal due to his charismatic appearance. During that year they recorded a track, "Headlines", which had been co-written by Cheney and Owen. The group sent a T-shirt and demo tape to Green Day guitarist and lead vocalist, Billie Joe Armstrong, and landed a support slot for Green Day's 1995 Australian tour. After that tour, The Living End recorded additional tracks for their debut extended play, Hellbound, which received moderate support from community radio stations. It was produced by the group and included "Headlines" from the previous year. Ed Nimmervoll, an Australian musicologist, described the EP's sound: "they turned their back on '50s rock revivalism and adapted that instrumentation to original songs steeped in UK punk". In November 1995, the trio recorded their second EP, It's for Your Own Good, which appeared in the following June. The six-track EP was co-produced by Lindsay Gravina (Underground Lovers, Cosmic Psychos), Mike Alonso (Jericho) and The Living End for the Rapido label. It included their first radio airplay hit, "From Here on In", which was placed on high rotation by national youth radio network, Triple J. Shortly after, Piripitzi was fired as his lifestyle choices were holding back the band. He was replaced on drums by Travis Demsey (later in The Knockout Drops). With Demsey the group appeared at major festivals: Pushover and the Falls Festival. Demsey's drum style was compared with The Who's Keith Moon. "From Here on In" was used on the soundtrack for the 1998 film, Occasional Course Language. Breakout single to debut album (1997–1999) The Living End toured Australia for a year, then in August 1997 they recorded new material to sell at their live shows. Their double A-sided single, "Second Solution" / "Prisoner of Society", was issued in January the following year. Also that month they had supported The Offspring on the Australian leg of their tour. "Second Solution" / "Prisoner of Society" peaked at No. 4 on the ARIA Singles Chart, and was certified double-platinum by ARIA for shipment of 140,000 copies. At the ARIA Music Awards of 1998 it won the Highest Selling Single category; and eventually became the highest selling Australian single of the 1990s. It lasted a record-breaking 47 weeks in the Top 50. In October 1998 it peaked at No. 28 on the New Zealand Singles Chart. It was later featured in the game, Guitar Hero World Tour. "Second Solution" was used in the soundtrack for the 2002 movie, Cheats, which starred Trevor Fehrman, Matthew Lawrence, and Mary Tyler Moore. Early in 1998 "Prisoner of Society" was issued as a separate single in the United Kingdom and, the following year, in the US. The single appeared in the top 200 of the UK Singles Chart, and peaked at No. 23 on the Billboards Alternative Songs Chart. The band signed with Modular Recordings for the release of their debut self-titled album, which appeared on 12 October 1998, and was co-produced by Gravina with the trio. It peaked at No. 1 on the ARIA Albums Chart, became the then-second highest-selling debut rock album in Australian music history and, by 1999, was certified 4x Platinum for shipment of 280,000 units. Their next Australian single, "Save the Day", was issued in September 1998, a month ahead of the album. It made the top 30 on the ARIA Singles Chart. It became their highest charting hit on the New Zealand Singles Chart, where it reached No. 10. From the album, a total of six singles were released including a live cover version of "Tainted Love", which was issued as a radio-only single on Triple J. At the ARIA Music Awards of 1999, The Living End won two more awards: Best Group and Breakthrough Artist – Album. At the ceremony they were also nominated for Album of the Year and Highest Selling Album. In October 2010 their debut album was listed in the book 100 Best Australian Albums. Roll On (2000–2001) The Living End's second album, Roll On, was recorded during July 2000 with Nick Launay (Midnight Oil, Models, Silverchair) producing and appeared in November that year. It peaked at No. 8 on the ARIA Albums Chart and reached the top 40 in New Zealand. Although Roll On was a more creative work, Nimmervoll mentioned that they had "broadened their musical scope while keeping in tact [sic] what made them unique - the instrumentation and the socially-aware lyrics". The album did not achieve the status of their earlier album as it was certified platinum for shipment of 70,000 copies. Despite this, fans consider it to be as strong as the self-titled album; "[it's] an absolute scorcher! That's what years of live honing can do for a band that was already white-hot". Cheney later stated that he was trying to prove to critics that The Living End were not a band simply defined by their hit, "Prisoner of Society", and the album showed this by displaying other influences, as well as their traditional fast-paced rockabilly music. Rolling Stone Jenny Eiscu compared it to The Clash's creative breakthrough, London Calling (December 1979), as they "stomp all over the boundaries between punk, reggae, rockabilly and plain old rock & roll – and it still sounds like a revelation, twenty-two years after [T]he Clash did it. The pupils don't quite outpace the masters here ... But the band is obviously having such a riotously good time that you'd be a sucker not to stomp your foot and join the party". Much of the style was comparable to 1980s hard rock and pub rock, as well as many tracks being obscure mixes of many ideas, resulting in 'procrastinating' structures. This defined the album's creativity. The album's first two singles, "Pictures in the Mirror" and the title track, peaked into the top 20 on the ARIA Singles Chart. "Pictures in the Mirror" also reached the top 20 in New Zealand, while "Roll On" peaked at No. 33 on the Billboard Alternative Songs Chart, and appeared in the top 150 of the UK Singles Chart. In March 2001 Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict". The trio received US-wide coverage by playing on both Conan O'Brien's and David Letterman's late-night variety shows. The album included "Carry me Home", which appeared on the Guitar Hero II soundtrack. However, touring in support of Roll On and the related singles was halted after Cheney had a car accident on the Great Ocean Road, rendering him unable to play for a significant period of time: he was "hospitalised for 2 months". He had been on travelling to the house of a member of fellow Australian band and tour mates, Bodyjar. The Longnecks to Modern ARTillery (2002–2005) In February 2002, The Living End's line up changed as Demsey left and was replaced on drums in April by Andy Strachan (ex-Pollyanna). Dempsey wanted to spend more time with his family, and had a dislike of heavy touring; in August that year he joined Fez Perez, and later joined a punk, folk rock group, The Currency. The Living End developed a side project, The Longnecks, to test out Strachan and new material for their third album, Modern ARTillery, without attracting wide public attention. The name is a reference to longneck beer bottles. The Longnecks name was re-used by the band to try out potential material for later albums. They have also played under other names: Glen Waverley & The Mentones, The Dovetones, Roller Toasters, Doncaster & The Dandenongs and Redwings; at various venues in regional Victoria. In mid-2002 The Living End recorded four tracks, including "One Said to the Other", which were released as an EP in January the following year and reached the top 20 on the ARIA Singles Chart. Two of its tracks were re-recorded in Los Angeles with Mark Trombino (Blink-182, Jebediah) producing, together with new material for Modern ARTillery, which appeared on 28 October 2003. It peaked at No. 3 on the ARIA Albums Chart, top 50 in New Zealand, and top 40 on Billboards Heatseekers Albums Chart. "Who's Gonna Save Us?" was issued a month earlier, as the lead single, which reached top 40 in Australia, top 30 in New Zealand and on Billboards Alternative Songs Chart. They followed with heavy touring (including Big Day Out) promoting their releases. On 27 September 2004 the band released a compilation album, From Here on In: The Singles 1997-2004, early versions included a bonus disc, Under the Covers, which had six cover versions of other artist's tracks. The CD featured two new tracks: "I Can't Give You What I Haven't Got" and "Bringing It All Back Home". They also issued a compilation DVD, From Here on In: The DVD 1997–2004, which collated their music video clips and live performances of the groups at festivals: Splendour in the Grass and Big Day Out in Sydney, and from Summer Sonic in Japan. The DVD also documented the band's history by interviews and home footage. State of Emergency (2005–2007) The Living End's fourth studio album, State of Emergency, was recorded in Byron Bay with Launay producing, following the band's appearance at Splendour in the Grass. The recording and the artwork was completed in mid-December 2005, and the album was released on 4 February the following year. The Living End had again played gigs as The Longnecks, before recording the album, to test out the new material. It peaked at No. 1 on the ARIA Albums Chart in its first week, it reached top 40 in New Zealand, and on Billboards Alternative Songs Chart. The lead single, "What's on Your Radio?", had been issued in November 2005, and reached No. 9 on the ARIA Singles Chart. The second single, "Wake Up", was released in February just after the album and reached No. 5. It became their highest charting single in New Zealand where it peaked at No. 12. The third single, "Long Live the Weekend", was released in May, and appeared in the top 30 in Australia. The fourth single, "Nothing Lasts Forever", was released in August and also reached the top 40. The album was nominated for the 2006 J Award. The album was issued in the US through Green Day's Armstrong's Adeline Records along with Eastwest Records on 11 July 2006 and in Canada a week later. Another release in support of the album was the DVD, Live at Festival Hall, on 30 September, which captured a Melbourne performance during the State of Emergency Tour, and featured many songs from the album, and earlier tracks. On 20 June 2006 the band received four Jack Awards: Best Live Band, Best Live TV Performance, Best Performer (Cheney) and Best Drummer (Strachan). Thereby the group achieved the most awards in a year and, at eight overall, the most by any artist. During the 2006 State of Emergency tour, the Living End's show in Milwaukee was cancelled, so it was rescheduled on 2 December as a support act for +44. On 6 October Cheney left the band because he felt burnt out, he was sick of the constant touring, as well as experiencing writer's block. Cheney felt that he needed to get away from the band and develop other aspects of his life. This information was kept confidential until 2008. Early in 2007 Cheney had isolated himself from his bandmates while trying to write tracks for a follow-up to State of Emergency. He was disappointed with the results so he took up yoga, spent time painting and being around his baby daughter whilst taking a break from music for the first time in 10 years. During this period the band released a radio-only single, a cover version of Cold Chisel's "Rising Sun", available on the Standing on the Outside (March 2007), a Cold Chisel tribute album by various Australian artists. After Cheney overcame his writer's block and was convinced not to leave the band, the group played The Great Escape in April 2007 and restarted work on their fifth studio album. They toured the UK in August that year, releasing State of Emergency there on 13 August through Deck Cheese Records. White Noise (2008–2009) The Living End released their fifth studio album, White Noise, on 19 July 2008. The trio had performed at The Ages Entertainment Guide's EG Awards in Melbourne in December 2007. Two new songs had been premiered, "Raise the Alarm" and "How Do We Know". During February the following year they played gigs as The Longnecks to test out more new material prior to recording. The gigs were described by Cheney as the most exciting of their career, "there is a heaviness and depth to the new stuff that we simply haven't had before". Pre-production for the album took place at Studio One in Collingwood, Melbourne with producer Kalju Tonuma. This included various co-writes including the track "Sum of Us". After the sonic blueprint of the album was established, producer John Agnello (Sonic Youth, The Hold Steady) was engaged to commence recording at Water Music Studios in Hoboken, New Jersey, for their new label, Dew Process, on the week beginning 31 March. Cheney felt Agnello "[could] capture the energy and attack we are after". Brendan O'Brien mixed the record at Silent Sound Studios in Atlanta, Georgia. The Ages Andrew Murfett declared they "have never been able to convey the energy and power of their live shows on record ... [this album] is fresh, diverse and relatively honest, and TLE suddenly got a lot more interesting". White Noise peaked at No. 2 on the ARIA Albums Chart in its first week, it reached No. 18 in New Zealand – becoming their highest charting album there. In support of the album, they made TV appearances, including a performance on 5 October at the 2008 NRL Grand Final at ANZ Stadium. At the ARIA Music Awards of 2008, White Noise was awarded the Best Rock Album, over efforts from Gyroscope and Faker. The first single issued from the album included the title track. Another song, "How Do We Know", was simultaneously released as a radio-only track on Triple J, and was heard on other radio stations, such as Nova 969. The tracks formed a double A-sided single, which was issued both physically and digitally in July 2008. It reached No. 12 on the ARIA Singles Chart, and top 30 in New Zealand. White Noise had almost a year-and-a-half of writing behind it, showing "more of a hard rock influence" and the group declared it's "the best thing we've ever done". In September that year a second single, "Moment in the Sun", was released to Australian radio; it was physically and digitally released a month later. In December "Raise the Alarm" was released to radio as the third single. A music video had been issued containing footage of live performances during the White Noise Tour and some others. In February 2009 the band made a secret appearance in Melbourne supporting the Stray Cats on their Farewell Tour. In May The Living End started the Raise the Alarm Tour. The Ending Is Just the Beginning Repeating (2010–2015) During September and October 2010 The Living End performed under another alias, Safety Matches, testing new material, similar to the previous usage of The Longnecks, for their sixth album, The Ending Is Just The Beginning Repeating. The tracks vetted included "United", "Universe", "Away from the City" (then-titled "Black and White"), the title track, "Resist" and "Heatwave". In the January 2011 edition of The Living End's News, Cheney revealed "[h]aving spent all of 2010 writing album 6 we have amassed something in the vicinity of 40+ songs to choose from... There are some really different ideas kicking around this time but the emphasis has been on creating a cohesive album that is heavy, melodic and overall very anthemic". The title track was premiered as the lead single in early June 2011 on national radio stations. The album appeared on 22 July that year, it was produced by Nick DiDia (Powderfinger). On 17 July Triple J played tracks from the album with further tracks played through the week prior to its release. The Living End also allowed fans on their mailing list a 24-hour stream of the record on 18 July. Fans could listen as many times as they wanted and were able to comment on the stream. In support of the album a live stream of a performance occurred on YouTube on 19 July. This featured an additional guitarist as well as Cheney playing rhythm guitar. From 2011 the band has employed Adrian Lombardi (ex-Mid Youth Crisis, Blueline Medic) on stage as their second guitarist. In July 2012 Cheney announced on Triple J that throughout November and December of that year, as part of The Retrospective Tour, they would perform each of their six studio albums over a week, in each of five Australian state capitals (Perth, Adelaide, Sydney, Brisbane and Melbourne). The Living End played in the UK and Germany throughout August and September 2013, and headlined at the Summernats 27 in Canberra in 2014. The Living End also played at the 2014 Soundwave Festival in Australia as a replacement for Stone Temple Pilots who had to pull out due to scheduling conflicts with the recording of their next album. The Living End supported Cold Chisel in their One Night Stand tour, with shows at Townsville, Darwin, Perth, Macedon Ranges and Sydney. Shift (2015–2017) The Living End announced they finished their seventh studio album in 2015. On 15 March 2016, the band released a song called "Monkey" as a taste of the album. "Monkey" is not the first official single off the album but was played live at the Decades Music Festival in 2015, along with another track called "Death". On 21 March 2016 the band officially announced the new album, Shift with a release date of 13 May 2016, alongside a national tour and the release of the single, "Keep on Running". "Staring Down The Barrel", the final single from the album, was released in October 2016. The song was inspired by Cheney's battles with alcohol. Wunderbar (2018–present) On 22 June 2018, The Living End released a new song, "Don't Lose It". The band played two special pub shows in Sydney and Melbourne to launch the new single. On 10 July 2018, the band officially announced their eighth album, Wunderbar, with a release date of 28 September 2018. Following this announcement, a video was launched for the previously released single "Don't Lose It". The video is a parody of reality talent contests, such as The Voice and Idols, and features cameos from many Australian musicians and personalities, such as Jimmy Barnes, Jane Gazzo, Molly Meldrum, Daryl Braithwaite and Murray Cook. Wunderbar was recorded over a six-week period in February 2018, in Berlin, Germany, with producer Tobias Kuhn. Kuhn was brought on as producer after being recommended by German punk band, Die Toten Hosen. Wunderbar peaked at #3 on the ARIA charts. Musical style and influences The Living End consider themselves to be a rock 'n' roll band based on punk ethics, citing The Clash, Iggy Pop, The Who and The Jam as influences and bands with whom they share the same ideals, making a social commentary on what's going on around them. They have also been compared favorably to 1990s punk revivalists Rancid. However, the band do not consider themselves a punk band, more a rock 'n' roll band who are influenced by punk. Allmusic's Stephen Thomas Erlewine reviewed their debut album, he noted their "sound owes far more to the Ramones than it does to Eddie Cochran, or even the Clash, but they've cleverly appropriated certain rockabilly signatures – most ridiculously, the upright acoustic bass – that give their homage to the golden age of punk a bit of charm". Cheney regards 1950s rock 'n' roll, including Elvis Presley, as his greatest influence and first musical love which, along with 1980s rockabilly revival band Stray Cats, the band's sound was based on. Owen has said that his favourite bands include Stray Cats, Reverend Horton Heat, Midnight Oil, The Clash, The Jam, Green Day, Sublime, Bodyjar, The Brian Setzer Orchestra, Rancid, The Beatles and Supergrass. Owen regards Lee Rocker of Stray Cats as his main performance influence, mimicking the right hand movements of Rocker on the upright bass when he first learnt how to play. As The Runaway Boys the trio had performed 1950s rock revival to "all the jivers and rock 'n' rollers". They also regard Australian pub rock as an important influence on the band, something the members grew up with and appreciated. Other rockabilly influences include Reverend Horton Heat and Eddie Cochran Their rockabilly influences were tempered by exposure to differing forms "[w]e'd support a jazz band one night, and a metal band the following. It helped us a lot". Allmusic's MacKenzie Wilson found that by Roll On the group had grown up "but continue to rampage on with their rowdy punkabilly ... their sophomore effort pulls toward their Aussie rock roots (AC/DC, Rose Tattoo) and a touch of British class for an eager modification". They acknowledge the inspiration of 1970s punk groups and The Sharp. Billboards review of Roll On described their sound as "Aussie punkabilly", while the group's lyrics show a "socially progressive attitude, discussing prejudice, racism, and political conflict" The Worldwide Home of Australasian Music and More Online website reviewed their early releases, with The Living End described as "anthemic and attitudinous brand of rockabilly-meets-punk (circa Clash not SoCal)"; Roll On had them as "kings of rockapunkerbilly"; for Modern Artillery Cheney's lyrics were lauded with "every time I expect the quality to wane, a new level is reached" and the band itself showed that "Nobody plays nitro-powered punkabilly faster or tighter than this combo and Modern Artillery represents the band's finest hour". However Allmusic's Johnny Loftus found that album showed that the "bawdy gang vocals of 2001's Roll On have been replaced by sculpted multi-tracking ... guitars punch mightily, and the choruses detonate, but they do in colors easily identifiable to a throng of American baby punks with silver safety pins in their mouths". Allmusic's Hal Horowitz found that by State of Emergency the group "takes its Stray Cats strut and Reverend Horton Heat bluster and continues to channel it into a more commercially viable pop/punk sound ... [it] sounds more like a buffed up Jam album, all snappy hooks and impassioned vocals over a rollicking set of songs". Fellow Allmusic reviewer Adam Greenberg found that on White Noise the group "experiments a bit with new sounds but also seems to hang right on the edge of what they had been doing previously". Dave Donnelly opined that the band "have been mining the territory between pop-punk and rockabilly for well over a decade now, and their experience shines through in the slick musicianship" of The Ending Is Just the Beginning Repeating. Amongst other bands, Sum 41 guitarist Dave Baksh has suggested that it would be great if he could tour with The Living End, saying that they're all "really good musicians". Collaborations The Living End have made recordings with many popular bands and artists. In 1998, just as they were gaining popularity in Australia, they performed at "Tour of Duty" for the peace keepers in East Timor. At this, their first live concert to Australians, they performed two tracks from what was their upcoming album, as well as performing with The Angels' frontman Doc Neeson and "Jingle Bell Rock" with Australian pop singer Kylie Minogue. In December 1998, supporting the German band Die Toten Hosen they played a cover of Slade's "Merry Christmas" with them on 26 December 1998 in Düsseldorf, as part of Die Toten Hosen's 1998 Christmas tour of Germany. The two bands met on the 1998 inaugural Warped Tour of Australia, New Zealand, Japan and Hawaii. In early 2001 The Living End performed as the support act for AC/DC during the Australian leg of their Stiff Upper Lip world tour. For their 2000 release, How It Works, Cheney performed backing vocals on Bodyjar's song "Halfway Around The World". Lead singer and guitarist Chris Cheney was also a member of the "super group" The Wrights who released covers of Stevie Wright's songs, "Evie Parts 1, 2 & 3" after performing "Evie Part 1" at the 2004 Australian Music Industry's ARIA Music Awards. Cheney also played guitar and contributed backing vocals to "Private School Kid" on Sarah McLeod's (formerly of The Superjesus) debut solo album. Cheney appeared as a guest guitarist on Stephen Cummings Firecracker album. The Living End performed alongside Normie Rowe performing two of Normie's hits "Que Sera Sera" and "Shakin' All Over" at the 2005 ARIA Hall of Fame. In 2005, the band recorded a version of Ashton, Gardner and Dyke's "Resurrection Shuffle" with Jimmy Barnes on his duet album Double Happiness. The Living End also appeared on Australian country and western music artist Kasey Chambers' album Barricades & Brickwalls, contributing the music and backing vocals to "Crossfire". On Australian band Jet's live DVD, Right Right Right, Chris Cheney appears at the end of the recorded concert to feature on a cover of Elvis Presley's "That's Alright Mamma". Chris Cheney also played "I Fought the Law" with Green Day at their Melbourne concert on 17 December 2005. Double bassist Scott Owen appeared on Australian legend Paul Kelly's Foggy Highway album, playing bass on "Song of the Old Rake". Scott also appeared in the film clip for the track. Cheney was the guest guitarist on the song, "Something More", which appears on the album, Lose Your Delusion, by Melbourne duo Over-reactor. Cheney will also feature on Grinspoon's seventh studio album playing a guitar solo. The Living End have also featured on Jimmy Barnes' album, 30:30 Hindsight, which was released in 2014, where they covered "Lay Down Your Guns". The song was then released as a music video to assist in the promotion of the album. In 2017, Chris Cheney featured on the Luke Yeoward's album Ghosts, with vocals and guitar contribution to the song "Whose Side Are You On?" Members Current Chris Cheney – lead guitar, lead vocals (1994–present) Scott Owen – double bass, bass guitar, backing vocals (1994–present) Andy Strachan – drums, backing vocals (2002–present) Live/touring members Adrian Lombardi – rhythm guitar, backing vocals (2011–2013, 2017) Former Joe Piripitzi – drums (1994–1996) Travis Demsey – drums (1996–2002) Timeline Discography Studio albums The Living End (1998) Roll On (2000) Modern Artillery (2003) State of Emergency (2006) White Noise (2008) The Ending Is Just the Beginning Repeating (2011) Shift (2016) Wunderbar (2018) Awards and nominations They hold the record for the most consecutive entries in Triple J's Hottest 100. The band made the chart every year between 1997 and 2006. The band won a total of nine awards at the Jack Awards – for Australian live music – from the first ceremony in 2004 to the final one in 2007. They have won more than any other artist as a whole and individually for 2006 and 2005 (2005 was actually a tie with Grinspoon on two awards). Of these, three awards for Best Guitarist (Cheney), one award for Best Live Male Performer (Cheney), two awards for Best Bassist (Owen), one award for Best Drummer (Strachan), one award for Best Live Band, and one award for Best Live Performance (on Channel V). In July 2009, Prisoner of Society was voted number 34 by the Australian public in "Triple J Hottest 100 of All Time". In July 2011, the band's self-titled album, The Living End, was voted number 4 by the Australian public in "Triple J Hottest 100 Australian Albums of All Time". APRA Awards The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA). \|- \| 2009 \|\| "White Noise" – Chris Cheney \|\| Song of the Year \|\| \|- \|rowspan="3"\| 2010 \|\| "Raise the Alarm" – Chris Cheney \|\| Most Played Australian Work \|\| \|- \| "Raise the Alarm" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| "White Noise" – Chris Cheney \|\| Rock Work of the Year \|\| \|- \| 2020 \|\| "Otherside" - Chris Cheney, Scott Owen, Andy Strachan, Tobias Kuhn \|\| Most Performed Rock Work of the Year \|\| \|- ARIA Music Awards The ARIA Music Awards are an annual series presented by Australian Recording Industry Association (ARIA) since 1987, which recognise excellence, innovation, and achievement across all genres of Australian music. The Living End have won a total of six awards from thirty nominations. Video games "End of the World" was featured in Tony Hawk's Underground 2, a skateboarding video game. "Carry Me Home" was featured in the video game Guitar Hero II as a playable song using the guitar peripheral. "West End Riot" was featured in the video game World of Outlaws: Sprint Cars 2002 in the opening film clip. "Prisoner of Society" was featured in the video game Guitar Hero: World Tour as a playable song, as well as in the Guitar Hero: World Tour meme 'Bike Hero'. The song was included in a 19 December 2008 DLC release for the Xbox 360 karaoke video game Lips. It was also featured in the game Supercross 2000 by Electronic Arts, along with their track "I Want a Day." See also References External links Official website Adeline Records artists APRA Award winners ARIA Award winners Australian punk rock groups Dine Alone Records artists Dew Process artists Musical groups from Melbourne Australian musical trios Psychobilly groups Pub rock musical groups	true	[ "\"What's Another Year\" was Johnny Logan's first Eurovision Song Contest winning song, achieving success in the 1980 edition of the contest, as well as 's second Eurovision victory. Composed by Shay Healy (who also wrote \"The Ultimate Country and Western Song\" performed by Billy Connolly), the song reached number one in the UK Singles Chart for two weeks in May.\n\nWhen showband frontman Glen Curtin, the original choice of singer, turned down \"What's Another Year\", the song was rearranged by Bill Whelan to suit Johnny Logan's singing style. Whelan later composed Riverdance for the interval entertainment slot at the 1994 Eurovision Song Contest in Dublin. Musically, the song is easily identifiable by its saxophone introduction played by Scottish musician Colin Tully, who now lives and teaches in Wales. The success of \"What's Another Year\" launched Logan's Eurovision career (he would go on to achieve success in with \"Hold Me Now\", and he would have another win as songwriter for Linda Martin's \"Why Me?\" in ). In addition, the song was selected as one of the 14 greatest Eurovision entries in a special to mark the 50th anniversary of the contest. It was covered by Shane MacGowan of The Pogues in the Song for Eurotrash cover album of 1998.\n\nFamously, after being announced as the winner of the Contest, Logan was overcome with emotion and could not achieve the high notes near the end of the song in his reprise. Instead, he called out \"I love you Ireland\", a phrase he would repeat seven years later.\n\nThe song was performed seventeenth on the night, following 's Profil with \"Hé, hé M'sieurs dames\" and preceding 's Trigo Limpio with \"Quédate esta noche\". At the close of voting, it had received 143 points, placing 1st in a field of 19.\nThe song was succeeded as Eurovision winner at the Eurovision Song Contest 1981 by British band Bucks Fizz and the song \"Making Your Mind Up\".\nIt was succeeded as Irish representative at the 1981 contest by Sheeba with \"Horoscopes\".\n\nJohnny Logan released German-language and Spanish-language versions of \"What's Another Year\".\n\nDuring the 2020 special Eurovision: Europe Shine a Light, Logan performed the song live in a studio in Dublin. He was backed by the special's presenters Edsilia Rombley, Chantal Janzen and Jan Smit from their studio in Hilversum, and a chorus of Eurovision Song Contest fans from around the world. A short video highlighting Logan's three Eurovision wins (1980 and 1987 as main performer, 1992 as composer) was shown during the instrumental bridge of the song.\n\nTrack listing\n European single 7\" / 45 RPM single (RL 1005)/(EPC 8572)\nSide A: \"What's Another Year\"\nSide B: \"One Night Stand\"\n\n Spanish single 7\"single (EPC 8572)\nSide A: \"Por un Año Más\" - 3:08\nSide B: \"One Night Stand\" - 3:52\n\n German single 7\"single (EPC 8732)\nSide A: \"Was Ist Schon Ein Jahr\" - 3:08\nSide B: \"One Night Stand\" - 3:52\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\n1980 singles\nJohnny Logan (singer) songs\nEurovision songs of 1980\nCongratulations Eurovision songs\nUK Singles Chart number-one singles\nEuropean Hot 100 Singles number-one singles\nNumber-one singles in Norway\nNumber-one singles in Portugal\nNumber-one singles in Sweden\nEurovision songs of Ireland\nIrish Singles Chart number-one singles\nEurovision Song Contest winning songs\nPop ballads\n1980 songs\nEpic Records singles", "Ireland entered the Eurovision Song Contest 1980, sending Johnny Logan to the contest with the song \"What's Another Year\", written by Shay Healy.\n\nBefore Eurovision\n\nNational final \nThe Irish national final to select the Irish representative for the Eurovision Song Contest 1980, was held on 9 March 1980 at the RTÉ Studios in Dublin and was hosted by Larry Gogan. It was organised by the Irish broadcaster of the contest Raidió Teilifís Éireann (RTÉ).\n\nEight songs were performed live to the Irish viewers and listeners, with the winning song being decided by 10 regional juries across the country. The winner went on to win the Eurovision Song Contest in The Hague, which gave Ireland its second victory, ten years after its first.\n\nAt Eurovision \n\nThe Eurovision Song Contest 1980 was held at the Congresgebouw in The Hague, Netherlands. Ireland performed 17th on the night of the contest, following France and preceding Spain. Logan received 147 points for his performance, winning the contest for Ireland.\n\nVoting\n\nCongratulations: 50 Years of the Eurovision Song Contest\n\nAmong \"What's Another Year\"'s future honours as a Eurovision evergreen was its inclusion as one of the fourteen competing songs in Congratulations, Eurovision's fiftieth anniversary contest special. It was one of two Irish entries competing to be named the best Eurovision entry of all time, the other being Logan's subsequent winner, \"Hold Me Now.\". The song was performed second on the night, following the United Kingdom's Cliff Richard with \"Congratulations\" and preceding Israel's Dana International with \"Diva.\" Unlike \"Hold Me Now,\" \"What's Another Year\" failed to make it past the first round, finishing 12th with 74 points.\n\nVoting\n\nReferences\n\nExternal links\n Irish National Final 1980 page\n\n1980\nCountries in the Eurovision Song Contest 1980\nEurovision\nEurovision" ]
[ "Bob Cousy", "Andrew Jackson High SchoolEdit" ]	C_c1f5802ee0c6469f8ce371c39ac805b0_1	What did he do in high school?	1	What did Bob Cousy in Jackson High School?	Bob Cousy	Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. CANNOTANSWER	His basketball success was not immediate, and in fact he was cut from the school team in his first year.	Robert Joseph Cousy (, born August 9, 1928) is an American former professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963, and briefly with the Cincinnati Royals in the 1969–70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament, and won NCAA All-American honors for three seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston. He had an exceptionally successful career with the Celtics, leading the league an unprecedented 8 straight years in assists, playing on six NBA championship teams, and being voted into 13 NBA All-Star Games in his 13 full NBA seasons. He was also named to 12 All-NBA First and Second Teams and won the 1957 NBA Most Valuable Player Award. En route to his assist streak that was unmatched either in number of crowns or consecutive years, Cousy introduced a new blend of ball-handling and passing skills to the NBA that earned him the nickname "The Houdini of the Hardwood". Also known as "Cooz", he was regularly introduced at Boston Garden as "Mr. Basketball". After his playing career, he coached the Royals for several years, capped by a seven-game cameo comeback for them at age 41. Cousy then became a broadcaster for Celtics games. Upon his election to the Naismith Memorial Basketball Hall of Fame in 1971 the Celtics retired his No. 14 jersey and hung it in the rafters of the Garden. Cousy was named to the NBA 25th Anniversary Team in 1971, the NBA 35th Anniversary Team in 1981, and the NBA's 50th Anniversary All-Time Team in 1996, making him one of only four players that were selected to each of those teams. He was also the first president of National Basketball Players Association. On August 22, 2019, he was awarded the Presidential Medal of Freedom by Donald Trump. In October 2021, Cousy was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Early years Cousy was the only son of poor French immigrants living in New York City. He grew up in the Yorkville neighborhood of Manhattan's East Side, in the midst of the Great Depression. His father Joseph was a cab driver, who earned extra income by moonlighting. The elder Cousy had served in the German Army during World War I. Shortly after the war, his first wife died of pneumonia, leaving behind a young daughter. He married Julie Corlet, a secretary and French teacher from Dijon. At the time of the 1930 census, the family was renting an apartment in Astoria, Queens, for $50 per month. The younger Cousy spoke French for the first 5 years of his life, and started to speak English only after entering primary school. He spent his early days playing stickball in a multicultural environment, regularly playing with African Americans, Jews and other ethnic minority children. These experiences ingrained him with a strong anti-racist sentiment, an attitude he prominently promoted during his professional career. When he was 12, his family moved to a rented house in St. Albans, Queens. That summer, the elder Cousy put a $500 down payment for a $4,500 house four blocks away. He rented out the bottom two floors of the three-story building to tenants to help make his mortgage payments on time. Andrew Jackson High School Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. Holy Cross Cousy was one of six freshmen on the Holy Cross Crusaders' varsity basketball team in 1946–47. From the start of the season, coach Doggie Julian chose to play the six freshmen off the bench in a two-team system, so that each player would get some time on the court. As members of the "second team", they would come off the bench nine and a half minutes into the game, where they would relieve the "first team" starters. They would sometimes get to play as much as a third or even half of the game, but even at that Cousy was so disappointed with the lack of playing time that he went to the campus chapel after practice to pray that Julian would give him more of a chance to show off his talents on the court. Early in the season, however, he got into trouble with Julian, who accused him of being a showboater. Even as late as that 1946–47 season basketball was a static game, depending on slow, deliberate player movement and flat-footed shots. Far different was Cousy's up-tempo, streetball-like game, marked by ambidextrous finesse play and notable for behind-the-back dribbling and no-look, behind-the-back and half-court passing. Even so, he had enough playing time in games to score 227 points for the season, finishing with the third-highest total on the team. Led by stars George Kaftan and Joe Mullaney, the Crusaders finished the 1946–47 basketball season 24–3. On the basis of that record, Holy Cross got into the 1947 NCAA Tournament as the last seed in the then only eight-team tournament. In the first game, they defeated Navy 55–47 in front of a sell-out crowd at Madison Square Garden. Mullaney led the team in scoring with 18 points, thanks to Navy coach Ben Carnevale's decision to have his players back off from Mullaney, who was reputed as being more of a playmaker than a shooter. In the semifinal game, the Crusaders faced CCNY, coached by Nat Holman, one of the game's earliest innovators. Led by Kaftan's 30 points, Holy Cross easily defeated the Beavers 60–45. In the championship game, the Crusaders faced Oklahoma, coached by Bruce Drake, in another sold-out game at Madison Square Garden. Kaftan followed up his 30-point semifinal heroics with a mere 18 points in the title game, which was far more than enough for the team to defeat the Sooners 58–47. Cousy played poorly, however, scoring only four points on 2-for-13 shots. Holy Cross became the first New England college to win the NCAA tournament. On their arrival back in Worcester, the team was given a hero's welcome by about 10,000 cheering fans who met their train at Union Station. The following season Julian limited Cousy's playing time, to the point that the frustrated sophomore contemplated transferring out of Holy Cross. Cousy wrote a letter to coach Joe Lapchick of St. John's University in New York, informing him that he was considering a transfer there. Lapchick wrote back to Cousy that he considered Julian "one of the finest basketball coaches in America" and that he believed Julian had no bad intentions in restricting his playing time. He told Cousy that Julian would use him more often during his later years with the team. Lapchick alerted Cousy that transferring was a very risky move: according to NCAA rules, the player would be required to sit out a year before becoming eligible to play for the school to which he transferred. During Cousy's senior year of 1949–1950, his fate changed in a match against Loyola of Chicago at Boston Garden. With 5 minutes left and Holy Cross trailing, the crowd started to chant "We want Cousy!" until coach Julian relented. In these few minutes, Cousy scored 11 points and hit a game-winning buzzer-beater coming off a behind-the-back dribble. The performance established him as a team leader, and he then led Holy Cross to 26 straight wins and a Number 4 national ranking. A three-time All-American, Cousy ended his college career in the 1950 NCAA Tournament, when Holy Cross fell to North Carolina State in an opening-round game at Madison Square Garden. CCNY would go on to win the tournament. Boston Celtics Early years (1950–1956) Cousy turned pro and made himself available for the 1950 NBA draft. The Boston Celtics had just concluded the 1949–50 NBA season with a poor 22–46 win-loss record and had the first draft pick. It was strongly anticipated that they would draft the highly coveted local favorite Cousy. However, coach Red Auerbach snubbed him for center Charlie Share, saying: "Am I supposed to win, or please the local yokels?" The local press strongly criticized Auerbach, but other scouts were also skeptical about Cousy, viewing him as flamboyant but ineffective. One scout wrote in his report: "The first time he tries that fancy Dan stuff in this league, they'll cram the ball down his throat." As a result, the Tri-Cities Blackhawks drafted Cousy, but the point guard was unenthusiastic about his new employer. Cousy was trying to establish a driving school in Worcester, Massachusetts and did not want to relocate to the Midwestern triangle of the three small towns of Moline, Rock Island and Davenport. As compensation for having to give up his driving school, Cousy demanded a salary of $10,000 from Blackhawks owner Ben Kerner. When Kerner offered him only $6,000, Cousy refused to report. Cousy was then picked up by the Chicago Stags, but when they folded, league Commissioner Maurice Podoloff declared three Stags available for a dispersal draft: team scoring leader Max Zaslofsky, Andy Phillip and Cousy. Celtics owner Walter A. Brown was one of the three club bosses invited. He later made it clear that he was hoping for Zaslofsky, would have tolerated Phillip, and did not want Cousy. When the Celtics drew Cousy, Brown confessed: "I could have fallen to the floor." Brown reluctantly gave him a $9,000 salary. It was not long before both Auerbach and Brown changed their minds. With averages of 15.6 points, 6.9 rebounds and 4.9 assists a game, Cousy received the first of his 13 consecutive NBA All-Star selections and led a Celtics team with future Naismith Memorial Basketball Hall of Famers Ed Macauley and Bones McKinney to a 39–30 record in the 1950–51 NBA season. However, in the 1951 NBA Playoffs, the Celtics were beaten by the New York Knicks. With future Hall-of-Fame guard Bill Sharman on board the next season, Cousy averaged 21.7 points, 6.4 rebounds and 6.7 assists per game en route to his first All-NBA First Team nomination. Nonetheless, the Celtics lost to the Knicks in the 1952 NBA Playoffs. In the following season, Cousy made further progress. Averaging 7.7 assists per game, he won the first of his eight consecutive assists titles. These numbers were made despite the fact that the NBA had not yet introduced the shot clock, making the game static and putting prolific assist givers at a disadvantage. Powered by Auerbach's quick fastbreak-dominated tactics, the Celtics won 46 games and beat the Syracuse Nationals 2–0 in the 1953 NBA Playoffs. Game 2 ended 111–105 in a 4-overtime thriller, in which Cousy had a much-lauded game. Despite having an injured leg, he scored 25 points after four quarters, scored 6 of his team's 9 points in the first overtime, hit a clutch free throw in the last seconds, and scored all 4 of Boston's points in the second overtime. He scored 8 more points in the third overtime, among them a 25-ft. buzzer beater. In the fourth overtime, he scored 9 of Boston's 12 points. Cousy played 66 minutes, and scored 50 points after making a still-standing record of 30 free throws in 32 attempts. This game is regarded by the NBA as one of the finest scoring feats ever, in line with Wilt Chamberlain's 100-point game. However, for the third time in a row, the Knicks beat Boston in the next round. In the next three years, Cousy firmly established himself as one of the league's best point guards. Leading the league in assists all 3 seasons, and averaging 20 points and 7 rebounds, the versatile Cousy earned himself three more All-NBA First Team and All-Star honors, and was also Most Valuable Player of the 1954 NBA All-Star Game. In terms of playing style, Cousy introduced an array of visually attractive street basketball moves, described by the NBA as a mix of ambidextrous, behind-the-back dribbling and "no-look passes, behind-the-back feeds or half-court fastbreak launches". Cousy's modus operandi contrasted with the rest of the NBA, which was dominated by muscular low post scorers and deliberate set shooters. Soon, he was called "Houdini of the Hardwood" after the magician Harry Houdini. Cousy's crowd-pleasing and effective play drew the crowd into the Boston Garden and also won over coach Auerbach, who no longer saw him as a liability, but as an essential building block for the future. The Celtics eventually added two talented forwards, future Hall-of-Famer Frank Ramsey and defensive specialist Jim Loscutoff. Along with Celtics colleague Bob Brannum, Loscutoff also became Cousy's unofficial bodyguard, retaliating against opposing players who would try to hurt him. The Celtics were unable to make their mark in the 1954 NBA Playoffs, 1955 NBA Playoffs, and 1956 NBA Playoffs, where they lost three times in a row against the Nationals. Cousy attributed the shortcomings to fatigue, stating: "We would get tired in the end and could not get the ball". As a result, Auerbach sought a defensive center who could get easy rebounds, initiate fast breaks and close out games. Dynasty years (1957–1963) Before the 1956–57 NBA season, Auerbach drafted two future Hall-of-Famers: forward Tom Heinsohn, and defensive center Bill Russell. Powered by these new players, the Celtics went 44–28 in the regular season, and Cousy averaged 20.6 points, 4.8 rebounds and a league-leading 7.5 assists, earning his first NBA Most Valuable Player Award; he also won his second NBA All-Star Game MVP award. The Celtics reached the 1957 NBA Finals, and powered by Cousy on offense and rugged center Russell on defense, they beat the Hawks 4–3, who were noted for future Hall-of-Fame power forward Bob Pettit and former teammates Macauley and Hagan. Cousy finally won his first title. In the 1957–58 NBA season, Cousy had yet another highly productive year, with his 20.0 points, 5.5 rebounds and 8.6 assists per game leading to nominations into the All-NBA First Team and the All-Star team. He again led the NBA in assists. The Celtics reached the 1958 NBA Finals against the Hawks, but when Russell succumbed to a foot injury in Game 3, the Celtics faded and bowed out four games to two. This was the last losing NBA playoff series in which Cousy would play. In the following 1958–59 NBA season, the Celtics got revenge on their opposition, powered by an inspired Cousy, who averaged 20.0 points, 5.5 rebounds and a league-high 8.6 assists a game, won another assists title and another pair of All-NBA First Team and All-Star team nominations. Late in the season, Cousy reasserted his playmaking dominance by setting an NBA record with 28 assists in a game against the Minneapolis Lakers. While that record was broken 19 years later, Cousy also set a record for 19 assists in a half which has never been broken. The Celtics stormed through the playoffs and, behind Cousy's 51 total assists (still a record for a four-game NBA Finals series), defeated the Minneapolis Lakers in the first 4–0 sweep ever in the 1959 NBA Finals. In the 1959–60 NBA season, Cousy was again productive, his 19.4 points, 4.7 rebounds and 9.5 assists per game earning him his eighth consecutive assists title and another joint All-NBA First Team and All-Star team nomination. Again, the Celtics defeated all opposition and won the 1960 NBA Finals 4–3 against the Hawks. A year later, the 32-year-old Cousy scored 18.1 points, 4.4 rebounds and 7.7 assists per game, winning another pair of All-NBA First Team and All-Star nominations, but failing to win the assists crown after eight consecutive seasons. However, the Celtics won the 1961 NBA Finals after convincingly beating the Hawks 4–1. In the 1961–62 NBA season, the aging Cousy slowly began to fade statistically, averaging 15.7 points, 3.5 rebounds and 7.8 assists, and was voted into the All-NBA Second Team after ten consecutive First Team nominations. Still, he enjoyed a satisfying postseason, winning the 1962 NBA Finals after 4–3 battles against two upcoming teams, the Philadelphia Warriors and Los Angeles Lakers. The Finals series against the Lakers was especially dramatic, because Lakers guard Frank Selvy failed to make a last-second buzzer beater in Game 7 which would have won the title. Finally, in the 1962–63 NBA season, the last of his career, Cousy averaged 13.2 points, 2.5 rebounds and 6.8 assists, and collected one last All-Star and All-NBA Second Team nomination. In the 1963 NBA Finals, the Celtics again won 4–2 against the Lakers, and Cousy finished his career on a high note: in the fourth quarter of Game 6, Cousy sprained an ankle and had to be helped to the bench. He went back in with Boston up 1. Although he did not score again, he was credited with providing an emotional lift that carried the Celtics to victory, 112–109. The game ended with Cousy throwing the ball into the rafters. Retirement At age 34, Cousy held his retirement ceremony on March 17, 1963, in a packed Boston Garden. The event became known as the Boston Tear Party, when the crowd's response overwhelmed Cousy, left him speechless, and caused his planned 7-minute farewell to go on for 20. Joe Dillon, a water worker from South Boston, Massachusetts, and a devoted Celtics fan, screamed "We love ya, Cooz", breaking the tension and the crowd went into cheers. As a testament to Cousy's legacy, President John F. Kennedy wired to Cousy: "The game bears an indelible stamp of your rare skills and competitive daring." NBA career statistics Regular season Playoffs Post-playing career After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91–86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 114 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals. Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973–74 NBA season with a 141–209 record. Despite his unfamiliarity with the sport, Cousy was appointed Commissioner of the American Soccer League on December 19, 1974. His most notable act as commissioner was to declare the New York Apollo and Boston Astros co‐champions after both teams played 67 minutes of extra time without resolution in the second and deciding leg of the league's championship series on September 20, 1975. He was relieved of his duties on December 1, 1979. Pennsylvania Stoners club owner Willie Ehrlich explained the dismissal by stating, "After five years as commissioner, Cousy still goes around telling people he knows nothing about soccer." He was a color analyst on Celtics telecasts during the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman (and with ex-Celtic teammate Tom Heinsohn prior to Heinsohn's death on November 9, 2020). Coaching record College coaching record NBA coaching record \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|5th in Eastern\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|33\|\|49\|\|.402\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|30\|\|52\|\|.366\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|4th in Midwest\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|20\|\|6\|\|14\|\|.300\|\| align="center" \|(resigned)\|\|—\|\|—\|\|—\|\|— \| align="center" \|— \|-class="sortbottom" \| align="left" \|Career \| \|\|348\|\|141\|\|207\|\|.405\|\| \|\|—\|\|—\|\|—\|\|— \| align="center" \|— Legacy NBA Players Union In 1954, the NBA had no health benefits, pension plan, minimum salary, and the average player's salary was $8,000 ($82,000 in 2021 dollars) a season. To combat this, Cousy organized the National Basketball Players Association, the first trade union among those in the four major North American professional sports leagues. Cousy served as its first president until 1958. In his 13-year, 924-game NBA playing career, Cousy finished with 16,960 points, 4,786 rebounds and 6,955 assists, translating to averages of 18.4 points, 5.2 rebounds and 7.5 assists per game. He was regarded as the first great point guard of the NBA, winning eight of the first 11 assist titles in the league, all of them en bloc, and had a highly successful career, winning six NBA titles, one MVP award, 13 All-Star and 12 All-NBA First and Second Team call-ups and two All-Star MVP awards. With his eye-catching dribbling and unorthodox passing, Cousy popularized modern guard play and raised the profile of the Boston Celtics and the entire NBA. His fast-paced playing style was later emulated by the likes of Pete Maravich and Magic Johnson. In recognition of his feats, Cousy was inducted into the Naismith Memorial Basketball Hall of Fame in 1971 and honored by the Celtics, who retired his uniform number, 14. Celtics owner Walter Brown said: "The Celtics wouldn't be here without him [Cousy]. He made basketball in this town. If he had played in New York he would have been the biggest thing since [New York Yankees baseball legend] Babe Ruth. I think he is anyway." In addition, on May 11, 2006, ESPN.com rated Cousy as the fifth-greatest point guard of all time, lauding him as "ahead of his time with his ballhandling and passing skills" and pointing out he is one of only seven point guards ever to win an NBA Most Valuable Player award. On November 16, 2008, Cousy's college uniform number, 17, was hoisted to the Hart Center rafters. During halftime of a game between the Holy Cross Crusaders and St. Joseph's Hawks, the uniform numbers of Cousy, George Kaftan, Togo Palazzi, and Tommy Heinsohn became the first to hang from the gymnasium's ceiling. On July 1, 2019, Cousy advised The Boston Globe that he had received an official letter notifying him that he would receive the Presidential Medal of Freedom from President Donald Trump on August 22, 2019. He received the medal at a ceremony in the Oval Office. A statue of Cousy was installed outside the DCU Center in Worcester, Massachusetts, in 2021. Personal life Cousy married his college sweetheart, Missie Ritterbusch, in December 1950, six months after he graduated from Holy Cross. They lived in Worcester, Massachusetts, and had two daughters. His wife died on September 20, 2013, after suffering from dementia for several years. Cousy was well-known, both on and off the court, for his public stance against racism, a result of his upbringing in a multicultural environment. In 1950, the Celtics played a game in the then-segregated city of Charlotte, North Carolina, and teammate Chuck Cooper—the first African-American in NBA history to be drafted—would have been denied a hotel room. Instead of taking the hotel room, Cousy insisted on travelling with Cooper on an uncomfortable overnight train. He described their visit to a segregated men's toilet—Cooper was prohibited from using the clean "for whites" bathroom and had to use the shabby "for colored" facility—as one of the most shameful experiences of his life. He also sympathized with the plight of black Celtics star Bill Russell, who was frequently a victim of racism. Cousy was close to his Celtics mentor, head coach Red Auerbach, and was one of the few permitted to call him "Arnold", his given name, instead of his nickname "Red". See also List of athletes who came out of retirement List of National Basketball Association career assists leaders List of National Basketball Association career free throw scoring leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association players with most assists in a game List of National Basketball Association single-game playoff scoring leaders References External links Bob Cousy on nba.com 1928 births Living people All-American college men's basketball players American men's basketball players American people of French descent American sports announcers Andrew Jackson High School (Queens) alumni Basketball coaches from New York (state) Basketball players at the 1947 NCAA Final Four Basketball players at the 1948 NCAA Final Four Basketball players from New York City Basketball players from Worcester, Massachusetts Boston Celtics announcers Boston Celtics players Boston College Eagles men's basketball coaches Cincinnati Royals head coaches Cincinnati Royals players College men's basketball head coaches in the United States Holy Cross Crusaders men's basketball players Kansas City-Omaha Kings head coaches Kansas City Kings head coaches Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association broadcasters National Basketball Association players with retired numbers National Basketball Players Association presidents People from St. Albans, Queens People from Yorkville, Manhattan Player-coaches Point guards Presidential Medal of Freedom recipients Sportspeople from Manhattan Tri-Cities Blackhawks draft picks	true	[ "The Katy series is a set of novels by Sarah Chauncey Woolsey, writing under the pen-name of Susan Coolidge. The first in the series, What Katy Did, was published in 1872 and followed the next year by What Katy Did at School. What Katy Did Next was released in 1886. Two further novels, Clover (1888) and In the High Valley (1890), focused upon other members of the eponymous character's family. The series was popular with readers in the late 19th century.\n\nThe series was later adapted into a TV series entitled Katy in 1962, and two films, one also called Katy in 1972 and What Katy Did in 1999.\n\nNovels\n What Katy Did\n What Katy Did at School\n What Katy Did Next\n Clover\n In the High Valley\n\nAdaptions\n Katy (TV series, 1962)\n Katy (film, 1972)\n What Katy Did (film, 1999)\n\nLiterary Criticism\nCritics are divided about how much the series played into period gender norms and often compare the series to Little Women. Foster and Simmons argue for its subversion of gender in their book What Katy Read: Feminist Re-Readings of ‘Classic’ Stories for Girls by suggesting the series “deconstructs family hierarchies”.\n\nInfluence\nThe series is unusual for its time by having an entry which focuses not on the family life at home but at school in What Katy Did at School.\n\nIn a 1995 survey, What Katy Did was voted as one of the top 10 books for 12-year-old girls.\n\nSee also\n\nSarah Chauncey Woolsey\n\nReferences\n\nExternal links\nSeries details at Fantastic Fiction\n\nKaty series\n1870s novels\nNovel series\nSeries of children's books\nNovels by Susan Coolidge\n1880s novels\n1890s novels\n1962 American television series debuts\n1972 films\n1999 films", "Roger Thomas (born 17 April 1973 in Jamaica) is a Jamaican retired footballer.\n\nCareer\n\nAt the age of 13, a teacher asked Thomas \"what he was going to do with his life besides play soccer\", which inspired him to do well in school. As a result, Thomas left Jamaica after high school to attend college in the United States. \n\nAfter training with Chilean side Club Deportivo Universidad Católica, he signed for Miami Fusion in the American top flight.\n\nReferences\n\nJamaican footballers\nAssociation football midfielders\n1973 births\nLiving people\nAssociation football forwards" ]
[ "Bob Cousy", "Andrew Jackson High SchoolEdit", "What did he do in high school?", "His basketball success was not immediate, and in fact he was cut from the school team in his first year." ]	C_c1f5802ee0c6469f8ce371c39ac805b0_1	Did he play his second year?	2	Did Bob Cousy play basketball in his second year of high school?	Bob Cousy	Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. CANNOTANSWER	The next year, however, he was again cut during the tryouts for the school basketball team.	Robert Joseph Cousy (, born August 9, 1928) is an American former professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963, and briefly with the Cincinnati Royals in the 1969–70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament, and won NCAA All-American honors for three seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston. He had an exceptionally successful career with the Celtics, leading the league an unprecedented 8 straight years in assists, playing on six NBA championship teams, and being voted into 13 NBA All-Star Games in his 13 full NBA seasons. He was also named to 12 All-NBA First and Second Teams and won the 1957 NBA Most Valuable Player Award. En route to his assist streak that was unmatched either in number of crowns or consecutive years, Cousy introduced a new blend of ball-handling and passing skills to the NBA that earned him the nickname "The Houdini of the Hardwood". Also known as "Cooz", he was regularly introduced at Boston Garden as "Mr. Basketball". After his playing career, he coached the Royals for several years, capped by a seven-game cameo comeback for them at age 41. Cousy then became a broadcaster for Celtics games. Upon his election to the Naismith Memorial Basketball Hall of Fame in 1971 the Celtics retired his No. 14 jersey and hung it in the rafters of the Garden. Cousy was named to the NBA 25th Anniversary Team in 1971, the NBA 35th Anniversary Team in 1981, and the NBA's 50th Anniversary All-Time Team in 1996, making him one of only four players that were selected to each of those teams. He was also the first president of National Basketball Players Association. On August 22, 2019, he was awarded the Presidential Medal of Freedom by Donald Trump. In October 2021, Cousy was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Early years Cousy was the only son of poor French immigrants living in New York City. He grew up in the Yorkville neighborhood of Manhattan's East Side, in the midst of the Great Depression. His father Joseph was a cab driver, who earned extra income by moonlighting. The elder Cousy had served in the German Army during World War I. Shortly after the war, his first wife died of pneumonia, leaving behind a young daughter. He married Julie Corlet, a secretary and French teacher from Dijon. At the time of the 1930 census, the family was renting an apartment in Astoria, Queens, for $50 per month. The younger Cousy spoke French for the first 5 years of his life, and started to speak English only after entering primary school. He spent his early days playing stickball in a multicultural environment, regularly playing with African Americans, Jews and other ethnic minority children. These experiences ingrained him with a strong anti-racist sentiment, an attitude he prominently promoted during his professional career. When he was 12, his family moved to a rented house in St. Albans, Queens. That summer, the elder Cousy put a $500 down payment for a $4,500 house four blocks away. He rented out the bottom two floors of the three-story building to tenants to help make his mortgage payments on time. Andrew Jackson High School Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. Holy Cross Cousy was one of six freshmen on the Holy Cross Crusaders' varsity basketball team in 1946–47. From the start of the season, coach Doggie Julian chose to play the six freshmen off the bench in a two-team system, so that each player would get some time on the court. As members of the "second team", they would come off the bench nine and a half minutes into the game, where they would relieve the "first team" starters. They would sometimes get to play as much as a third or even half of the game, but even at that Cousy was so disappointed with the lack of playing time that he went to the campus chapel after practice to pray that Julian would give him more of a chance to show off his talents on the court. Early in the season, however, he got into trouble with Julian, who accused him of being a showboater. Even as late as that 1946–47 season basketball was a static game, depending on slow, deliberate player movement and flat-footed shots. Far different was Cousy's up-tempo, streetball-like game, marked by ambidextrous finesse play and notable for behind-the-back dribbling and no-look, behind-the-back and half-court passing. Even so, he had enough playing time in games to score 227 points for the season, finishing with the third-highest total on the team. Led by stars George Kaftan and Joe Mullaney, the Crusaders finished the 1946–47 basketball season 24–3. On the basis of that record, Holy Cross got into the 1947 NCAA Tournament as the last seed in the then only eight-team tournament. In the first game, they defeated Navy 55–47 in front of a sell-out crowd at Madison Square Garden. Mullaney led the team in scoring with 18 points, thanks to Navy coach Ben Carnevale's decision to have his players back off from Mullaney, who was reputed as being more of a playmaker than a shooter. In the semifinal game, the Crusaders faced CCNY, coached by Nat Holman, one of the game's earliest innovators. Led by Kaftan's 30 points, Holy Cross easily defeated the Beavers 60–45. In the championship game, the Crusaders faced Oklahoma, coached by Bruce Drake, in another sold-out game at Madison Square Garden. Kaftan followed up his 30-point semifinal heroics with a mere 18 points in the title game, which was far more than enough for the team to defeat the Sooners 58–47. Cousy played poorly, however, scoring only four points on 2-for-13 shots. Holy Cross became the first New England college to win the NCAA tournament. On their arrival back in Worcester, the team was given a hero's welcome by about 10,000 cheering fans who met their train at Union Station. The following season Julian limited Cousy's playing time, to the point that the frustrated sophomore contemplated transferring out of Holy Cross. Cousy wrote a letter to coach Joe Lapchick of St. John's University in New York, informing him that he was considering a transfer there. Lapchick wrote back to Cousy that he considered Julian "one of the finest basketball coaches in America" and that he believed Julian had no bad intentions in restricting his playing time. He told Cousy that Julian would use him more often during his later years with the team. Lapchick alerted Cousy that transferring was a very risky move: according to NCAA rules, the player would be required to sit out a year before becoming eligible to play for the school to which he transferred. During Cousy's senior year of 1949–1950, his fate changed in a match against Loyola of Chicago at Boston Garden. With 5 minutes left and Holy Cross trailing, the crowd started to chant "We want Cousy!" until coach Julian relented. In these few minutes, Cousy scored 11 points and hit a game-winning buzzer-beater coming off a behind-the-back dribble. The performance established him as a team leader, and he then led Holy Cross to 26 straight wins and a Number 4 national ranking. A three-time All-American, Cousy ended his college career in the 1950 NCAA Tournament, when Holy Cross fell to North Carolina State in an opening-round game at Madison Square Garden. CCNY would go on to win the tournament. Boston Celtics Early years (1950–1956) Cousy turned pro and made himself available for the 1950 NBA draft. The Boston Celtics had just concluded the 1949–50 NBA season with a poor 22–46 win-loss record and had the first draft pick. It was strongly anticipated that they would draft the highly coveted local favorite Cousy. However, coach Red Auerbach snubbed him for center Charlie Share, saying: "Am I supposed to win, or please the local yokels?" The local press strongly criticized Auerbach, but other scouts were also skeptical about Cousy, viewing him as flamboyant but ineffective. One scout wrote in his report: "The first time he tries that fancy Dan stuff in this league, they'll cram the ball down his throat." As a result, the Tri-Cities Blackhawks drafted Cousy, but the point guard was unenthusiastic about his new employer. Cousy was trying to establish a driving school in Worcester, Massachusetts and did not want to relocate to the Midwestern triangle of the three small towns of Moline, Rock Island and Davenport. As compensation for having to give up his driving school, Cousy demanded a salary of $10,000 from Blackhawks owner Ben Kerner. When Kerner offered him only $6,000, Cousy refused to report. Cousy was then picked up by the Chicago Stags, but when they folded, league Commissioner Maurice Podoloff declared three Stags available for a dispersal draft: team scoring leader Max Zaslofsky, Andy Phillip and Cousy. Celtics owner Walter A. Brown was one of the three club bosses invited. He later made it clear that he was hoping for Zaslofsky, would have tolerated Phillip, and did not want Cousy. When the Celtics drew Cousy, Brown confessed: "I could have fallen to the floor." Brown reluctantly gave him a $9,000 salary. It was not long before both Auerbach and Brown changed their minds. With averages of 15.6 points, 6.9 rebounds and 4.9 assists a game, Cousy received the first of his 13 consecutive NBA All-Star selections and led a Celtics team with future Naismith Memorial Basketball Hall of Famers Ed Macauley and Bones McKinney to a 39–30 record in the 1950–51 NBA season. However, in the 1951 NBA Playoffs, the Celtics were beaten by the New York Knicks. With future Hall-of-Fame guard Bill Sharman on board the next season, Cousy averaged 21.7 points, 6.4 rebounds and 6.7 assists per game en route to his first All-NBA First Team nomination. Nonetheless, the Celtics lost to the Knicks in the 1952 NBA Playoffs. In the following season, Cousy made further progress. Averaging 7.7 assists per game, he won the first of his eight consecutive assists titles. These numbers were made despite the fact that the NBA had not yet introduced the shot clock, making the game static and putting prolific assist givers at a disadvantage. Powered by Auerbach's quick fastbreak-dominated tactics, the Celtics won 46 games and beat the Syracuse Nationals 2–0 in the 1953 NBA Playoffs. Game 2 ended 111–105 in a 4-overtime thriller, in which Cousy had a much-lauded game. Despite having an injured leg, he scored 25 points after four quarters, scored 6 of his team's 9 points in the first overtime, hit a clutch free throw in the last seconds, and scored all 4 of Boston's points in the second overtime. He scored 8 more points in the third overtime, among them a 25-ft. buzzer beater. In the fourth overtime, he scored 9 of Boston's 12 points. Cousy played 66 minutes, and scored 50 points after making a still-standing record of 30 free throws in 32 attempts. This game is regarded by the NBA as one of the finest scoring feats ever, in line with Wilt Chamberlain's 100-point game. However, for the third time in a row, the Knicks beat Boston in the next round. In the next three years, Cousy firmly established himself as one of the league's best point guards. Leading the league in assists all 3 seasons, and averaging 20 points and 7 rebounds, the versatile Cousy earned himself three more All-NBA First Team and All-Star honors, and was also Most Valuable Player of the 1954 NBA All-Star Game. In terms of playing style, Cousy introduced an array of visually attractive street basketball moves, described by the NBA as a mix of ambidextrous, behind-the-back dribbling and "no-look passes, behind-the-back feeds or half-court fastbreak launches". Cousy's modus operandi contrasted with the rest of the NBA, which was dominated by muscular low post scorers and deliberate set shooters. Soon, he was called "Houdini of the Hardwood" after the magician Harry Houdini. Cousy's crowd-pleasing and effective play drew the crowd into the Boston Garden and also won over coach Auerbach, who no longer saw him as a liability, but as an essential building block for the future. The Celtics eventually added two talented forwards, future Hall-of-Famer Frank Ramsey and defensive specialist Jim Loscutoff. Along with Celtics colleague Bob Brannum, Loscutoff also became Cousy's unofficial bodyguard, retaliating against opposing players who would try to hurt him. The Celtics were unable to make their mark in the 1954 NBA Playoffs, 1955 NBA Playoffs, and 1956 NBA Playoffs, where they lost three times in a row against the Nationals. Cousy attributed the shortcomings to fatigue, stating: "We would get tired in the end and could not get the ball". As a result, Auerbach sought a defensive center who could get easy rebounds, initiate fast breaks and close out games. Dynasty years (1957–1963) Before the 1956–57 NBA season, Auerbach drafted two future Hall-of-Famers: forward Tom Heinsohn, and defensive center Bill Russell. Powered by these new players, the Celtics went 44–28 in the regular season, and Cousy averaged 20.6 points, 4.8 rebounds and a league-leading 7.5 assists, earning his first NBA Most Valuable Player Award; he also won his second NBA All-Star Game MVP award. The Celtics reached the 1957 NBA Finals, and powered by Cousy on offense and rugged center Russell on defense, they beat the Hawks 4–3, who were noted for future Hall-of-Fame power forward Bob Pettit and former teammates Macauley and Hagan. Cousy finally won his first title. In the 1957–58 NBA season, Cousy had yet another highly productive year, with his 20.0 points, 5.5 rebounds and 8.6 assists per game leading to nominations into the All-NBA First Team and the All-Star team. He again led the NBA in assists. The Celtics reached the 1958 NBA Finals against the Hawks, but when Russell succumbed to a foot injury in Game 3, the Celtics faded and bowed out four games to two. This was the last losing NBA playoff series in which Cousy would play. In the following 1958–59 NBA season, the Celtics got revenge on their opposition, powered by an inspired Cousy, who averaged 20.0 points, 5.5 rebounds and a league-high 8.6 assists a game, won another assists title and another pair of All-NBA First Team and All-Star team nominations. Late in the season, Cousy reasserted his playmaking dominance by setting an NBA record with 28 assists in a game against the Minneapolis Lakers. While that record was broken 19 years later, Cousy also set a record for 19 assists in a half which has never been broken. The Celtics stormed through the playoffs and, behind Cousy's 51 total assists (still a record for a four-game NBA Finals series), defeated the Minneapolis Lakers in the first 4–0 sweep ever in the 1959 NBA Finals. In the 1959–60 NBA season, Cousy was again productive, his 19.4 points, 4.7 rebounds and 9.5 assists per game earning him his eighth consecutive assists title and another joint All-NBA First Team and All-Star team nomination. Again, the Celtics defeated all opposition and won the 1960 NBA Finals 4–3 against the Hawks. A year later, the 32-year-old Cousy scored 18.1 points, 4.4 rebounds and 7.7 assists per game, winning another pair of All-NBA First Team and All-Star nominations, but failing to win the assists crown after eight consecutive seasons. However, the Celtics won the 1961 NBA Finals after convincingly beating the Hawks 4–1. In the 1961–62 NBA season, the aging Cousy slowly began to fade statistically, averaging 15.7 points, 3.5 rebounds and 7.8 assists, and was voted into the All-NBA Second Team after ten consecutive First Team nominations. Still, he enjoyed a satisfying postseason, winning the 1962 NBA Finals after 4–3 battles against two upcoming teams, the Philadelphia Warriors and Los Angeles Lakers. The Finals series against the Lakers was especially dramatic, because Lakers guard Frank Selvy failed to make a last-second buzzer beater in Game 7 which would have won the title. Finally, in the 1962–63 NBA season, the last of his career, Cousy averaged 13.2 points, 2.5 rebounds and 6.8 assists, and collected one last All-Star and All-NBA Second Team nomination. In the 1963 NBA Finals, the Celtics again won 4–2 against the Lakers, and Cousy finished his career on a high note: in the fourth quarter of Game 6, Cousy sprained an ankle and had to be helped to the bench. He went back in with Boston up 1. Although he did not score again, he was credited with providing an emotional lift that carried the Celtics to victory, 112–109. The game ended with Cousy throwing the ball into the rafters. Retirement At age 34, Cousy held his retirement ceremony on March 17, 1963, in a packed Boston Garden. The event became known as the Boston Tear Party, when the crowd's response overwhelmed Cousy, left him speechless, and caused his planned 7-minute farewell to go on for 20. Joe Dillon, a water worker from South Boston, Massachusetts, and a devoted Celtics fan, screamed "We love ya, Cooz", breaking the tension and the crowd went into cheers. As a testament to Cousy's legacy, President John F. Kennedy wired to Cousy: "The game bears an indelible stamp of your rare skills and competitive daring." NBA career statistics Regular season Playoffs Post-playing career After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91–86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 114 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals. Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973–74 NBA season with a 141–209 record. Despite his unfamiliarity with the sport, Cousy was appointed Commissioner of the American Soccer League on December 19, 1974. His most notable act as commissioner was to declare the New York Apollo and Boston Astros co‐champions after both teams played 67 minutes of extra time without resolution in the second and deciding leg of the league's championship series on September 20, 1975. He was relieved of his duties on December 1, 1979. Pennsylvania Stoners club owner Willie Ehrlich explained the dismissal by stating, "After five years as commissioner, Cousy still goes around telling people he knows nothing about soccer." He was a color analyst on Celtics telecasts during the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman (and with ex-Celtic teammate Tom Heinsohn prior to Heinsohn's death on November 9, 2020). Coaching record College coaching record NBA coaching record \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|5th in Eastern\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|33\|\|49\|\|.402\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|30\|\|52\|\|.366\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|4th in Midwest\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|20\|\|6\|\|14\|\|.300\|\| align="center" \|(resigned)\|\|—\|\|—\|\|—\|\|— \| align="center" \|— \|-class="sortbottom" \| align="left" \|Career \| \|\|348\|\|141\|\|207\|\|.405\|\| \|\|—\|\|—\|\|—\|\|— \| align="center" \|— Legacy NBA Players Union In 1954, the NBA had no health benefits, pension plan, minimum salary, and the average player's salary was $8,000 ($82,000 in 2021 dollars) a season. To combat this, Cousy organized the National Basketball Players Association, the first trade union among those in the four major North American professional sports leagues. Cousy served as its first president until 1958. In his 13-year, 924-game NBA playing career, Cousy finished with 16,960 points, 4,786 rebounds and 6,955 assists, translating to averages of 18.4 points, 5.2 rebounds and 7.5 assists per game. He was regarded as the first great point guard of the NBA, winning eight of the first 11 assist titles in the league, all of them en bloc, and had a highly successful career, winning six NBA titles, one MVP award, 13 All-Star and 12 All-NBA First and Second Team call-ups and two All-Star MVP awards. With his eye-catching dribbling and unorthodox passing, Cousy popularized modern guard play and raised the profile of the Boston Celtics and the entire NBA. His fast-paced playing style was later emulated by the likes of Pete Maravich and Magic Johnson. In recognition of his feats, Cousy was inducted into the Naismith Memorial Basketball Hall of Fame in 1971 and honored by the Celtics, who retired his uniform number, 14. Celtics owner Walter Brown said: "The Celtics wouldn't be here without him [Cousy]. He made basketball in this town. If he had played in New York he would have been the biggest thing since [New York Yankees baseball legend] Babe Ruth. I think he is anyway." In addition, on May 11, 2006, ESPN.com rated Cousy as the fifth-greatest point guard of all time, lauding him as "ahead of his time with his ballhandling and passing skills" and pointing out he is one of only seven point guards ever to win an NBA Most Valuable Player award. On November 16, 2008, Cousy's college uniform number, 17, was hoisted to the Hart Center rafters. During halftime of a game between the Holy Cross Crusaders and St. Joseph's Hawks, the uniform numbers of Cousy, George Kaftan, Togo Palazzi, and Tommy Heinsohn became the first to hang from the gymnasium's ceiling. On July 1, 2019, Cousy advised The Boston Globe that he had received an official letter notifying him that he would receive the Presidential Medal of Freedom from President Donald Trump on August 22, 2019. He received the medal at a ceremony in the Oval Office. A statue of Cousy was installed outside the DCU Center in Worcester, Massachusetts, in 2021. Personal life Cousy married his college sweetheart, Missie Ritterbusch, in December 1950, six months after he graduated from Holy Cross. They lived in Worcester, Massachusetts, and had two daughters. His wife died on September 20, 2013, after suffering from dementia for several years. Cousy was well-known, both on and off the court, for his public stance against racism, a result of his upbringing in a multicultural environment. In 1950, the Celtics played a game in the then-segregated city of Charlotte, North Carolina, and teammate Chuck Cooper—the first African-American in NBA history to be drafted—would have been denied a hotel room. Instead of taking the hotel room, Cousy insisted on travelling with Cooper on an uncomfortable overnight train. He described their visit to a segregated men's toilet—Cooper was prohibited from using the clean "for whites" bathroom and had to use the shabby "for colored" facility—as one of the most shameful experiences of his life. He also sympathized with the plight of black Celtics star Bill Russell, who was frequently a victim of racism. Cousy was close to his Celtics mentor, head coach Red Auerbach, and was one of the few permitted to call him "Arnold", his given name, instead of his nickname "Red". See also List of athletes who came out of retirement List of National Basketball Association career assists leaders List of National Basketball Association career free throw scoring leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association players with most assists in a game List of National Basketball Association single-game playoff scoring leaders References External links Bob Cousy on nba.com 1928 births Living people All-American college men's basketball players American men's basketball players American people of French descent American sports announcers Andrew Jackson High School (Queens) alumni Basketball coaches from New York (state) Basketball players at the 1947 NCAA Final Four Basketball players at the 1948 NCAA Final Four Basketball players from New York City Basketball players from Worcester, Massachusetts Boston Celtics announcers Boston Celtics players Boston College Eagles men's basketball coaches Cincinnati Royals head coaches Cincinnati Royals players College men's basketball head coaches in the United States Holy Cross Crusaders men's basketball players Kansas City-Omaha Kings head coaches Kansas City Kings head coaches Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association broadcasters National Basketball Association players with retired numbers National Basketball Players Association presidents People from St. Albans, Queens People from Yorkville, Manhattan Player-coaches Point guards Presidential Medal of Freedom recipients Sportspeople from Manhattan Tri-Cities Blackhawks draft picks	true	[ "Alec E. Mann was an English professional snooker player.\n\nCareer\n\nBorn in Birmingham on 14 November 1902, Mann turned professional in 1926, entering the 1927 World Championship, where he lost his first match 6–8 to Albert Cope after leading 6–1.\n\nThe following year, he defeated Cope 14–9 before losing 11–12 to Fred Lawrence in the second round; the highest break of the tournament was Mann's 46.\n\nAfter two first-round exits in 1929 and 1930, Mann did not play competitively again until 1935, when he lost his semi-final match - his first in that year's tournament, 4–13 to Willie Smith.\n\nMann entered the World Championship on three more occasions, but following a 12–23 loss to Kingsley Kennerley in the 1947 edition, he did not play again.\n\nReferences\n\nEnglish snooker players\n1902 births\nYear of death missing\nPeople from Birmingham, West Midlands", "David Robert Holt (born 29 December 1981) is an English cricketer who has also represented the France national cricket team.\n\nCareer\n\nDavid Holt's cricket career began in 1999 when he began to play for the Middlesex second XI. The same year, he represented England Under-19s at the Under-19 European Championship in Belfast, though the next year, he was playing for France at the senior European Championship, qualifying for them due to his French mother. He played just one match in the tournament, against Greece.\n\nHe did not play for France again after that year, continuing to play for the Middlesex second XI alongside various other teams before making his first-class debut for Loughborough UCCE against Nottinghamshire in 2005. He played a further first-class match for the university side against Hampshire the following season.\n\nReferences\n\n1981 births\nLiving people\nEnglish cricketers\nFrench cricketers\nLoughborough MCCU cricketers\nPeople from Hammersmith" ]
[ "Bob Cousy", "Andrew Jackson High SchoolEdit", "What did he do in high school?", "His basketball success was not immediate, and in fact he was cut from the school team in his first year.", "Did he play his second year?", "The next year, however, he was again cut during the tryouts for the school basketball team." ]	C_c1f5802ee0c6469f8ce371c39ac805b0_1	When did he play in high school?	3	When did Bob Cousy play basketball in high school?	Bob Cousy	Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. CANNOTANSWER	During a Press League game, the high school basketball coach saw him play.	Robert Joseph Cousy (, born August 9, 1928) is an American former professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963, and briefly with the Cincinnati Royals in the 1969–70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament, and won NCAA All-American honors for three seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston. He had an exceptionally successful career with the Celtics, leading the league an unprecedented 8 straight years in assists, playing on six NBA championship teams, and being voted into 13 NBA All-Star Games in his 13 full NBA seasons. He was also named to 12 All-NBA First and Second Teams and won the 1957 NBA Most Valuable Player Award. En route to his assist streak that was unmatched either in number of crowns or consecutive years, Cousy introduced a new blend of ball-handling and passing skills to the NBA that earned him the nickname "The Houdini of the Hardwood". Also known as "Cooz", he was regularly introduced at Boston Garden as "Mr. Basketball". After his playing career, he coached the Royals for several years, capped by a seven-game cameo comeback for them at age 41. Cousy then became a broadcaster for Celtics games. Upon his election to the Naismith Memorial Basketball Hall of Fame in 1971 the Celtics retired his No. 14 jersey and hung it in the rafters of the Garden. Cousy was named to the NBA 25th Anniversary Team in 1971, the NBA 35th Anniversary Team in 1981, and the NBA's 50th Anniversary All-Time Team in 1996, making him one of only four players that were selected to each of those teams. He was also the first president of National Basketball Players Association. On August 22, 2019, he was awarded the Presidential Medal of Freedom by Donald Trump. In October 2021, Cousy was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Early years Cousy was the only son of poor French immigrants living in New York City. He grew up in the Yorkville neighborhood of Manhattan's East Side, in the midst of the Great Depression. His father Joseph was a cab driver, who earned extra income by moonlighting. The elder Cousy had served in the German Army during World War I. Shortly after the war, his first wife died of pneumonia, leaving behind a young daughter. He married Julie Corlet, a secretary and French teacher from Dijon. At the time of the 1930 census, the family was renting an apartment in Astoria, Queens, for $50 per month. The younger Cousy spoke French for the first 5 years of his life, and started to speak English only after entering primary school. He spent his early days playing stickball in a multicultural environment, regularly playing with African Americans, Jews and other ethnic minority children. These experiences ingrained him with a strong anti-racist sentiment, an attitude he prominently promoted during his professional career. When he was 12, his family moved to a rented house in St. Albans, Queens. That summer, the elder Cousy put a $500 down payment for a $4,500 house four blocks away. He rented out the bottom two floors of the three-story building to tenants to help make his mortgage payments on time. Andrew Jackson High School Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. Holy Cross Cousy was one of six freshmen on the Holy Cross Crusaders' varsity basketball team in 1946–47. From the start of the season, coach Doggie Julian chose to play the six freshmen off the bench in a two-team system, so that each player would get some time on the court. As members of the "second team", they would come off the bench nine and a half minutes into the game, where they would relieve the "first team" starters. They would sometimes get to play as much as a third or even half of the game, but even at that Cousy was so disappointed with the lack of playing time that he went to the campus chapel after practice to pray that Julian would give him more of a chance to show off his talents on the court. Early in the season, however, he got into trouble with Julian, who accused him of being a showboater. Even as late as that 1946–47 season basketball was a static game, depending on slow, deliberate player movement and flat-footed shots. Far different was Cousy's up-tempo, streetball-like game, marked by ambidextrous finesse play and notable for behind-the-back dribbling and no-look, behind-the-back and half-court passing. Even so, he had enough playing time in games to score 227 points for the season, finishing with the third-highest total on the team. Led by stars George Kaftan and Joe Mullaney, the Crusaders finished the 1946–47 basketball season 24–3. On the basis of that record, Holy Cross got into the 1947 NCAA Tournament as the last seed in the then only eight-team tournament. In the first game, they defeated Navy 55–47 in front of a sell-out crowd at Madison Square Garden. Mullaney led the team in scoring with 18 points, thanks to Navy coach Ben Carnevale's decision to have his players back off from Mullaney, who was reputed as being more of a playmaker than a shooter. In the semifinal game, the Crusaders faced CCNY, coached by Nat Holman, one of the game's earliest innovators. Led by Kaftan's 30 points, Holy Cross easily defeated the Beavers 60–45. In the championship game, the Crusaders faced Oklahoma, coached by Bruce Drake, in another sold-out game at Madison Square Garden. Kaftan followed up his 30-point semifinal heroics with a mere 18 points in the title game, which was far more than enough for the team to defeat the Sooners 58–47. Cousy played poorly, however, scoring only four points on 2-for-13 shots. Holy Cross became the first New England college to win the NCAA tournament. On their arrival back in Worcester, the team was given a hero's welcome by about 10,000 cheering fans who met their train at Union Station. The following season Julian limited Cousy's playing time, to the point that the frustrated sophomore contemplated transferring out of Holy Cross. Cousy wrote a letter to coach Joe Lapchick of St. John's University in New York, informing him that he was considering a transfer there. Lapchick wrote back to Cousy that he considered Julian "one of the finest basketball coaches in America" and that he believed Julian had no bad intentions in restricting his playing time. He told Cousy that Julian would use him more often during his later years with the team. Lapchick alerted Cousy that transferring was a very risky move: according to NCAA rules, the player would be required to sit out a year before becoming eligible to play for the school to which he transferred. During Cousy's senior year of 1949–1950, his fate changed in a match against Loyola of Chicago at Boston Garden. With 5 minutes left and Holy Cross trailing, the crowd started to chant "We want Cousy!" until coach Julian relented. In these few minutes, Cousy scored 11 points and hit a game-winning buzzer-beater coming off a behind-the-back dribble. The performance established him as a team leader, and he then led Holy Cross to 26 straight wins and a Number 4 national ranking. A three-time All-American, Cousy ended his college career in the 1950 NCAA Tournament, when Holy Cross fell to North Carolina State in an opening-round game at Madison Square Garden. CCNY would go on to win the tournament. Boston Celtics Early years (1950–1956) Cousy turned pro and made himself available for the 1950 NBA draft. The Boston Celtics had just concluded the 1949–50 NBA season with a poor 22–46 win-loss record and had the first draft pick. It was strongly anticipated that they would draft the highly coveted local favorite Cousy. However, coach Red Auerbach snubbed him for center Charlie Share, saying: "Am I supposed to win, or please the local yokels?" The local press strongly criticized Auerbach, but other scouts were also skeptical about Cousy, viewing him as flamboyant but ineffective. One scout wrote in his report: "The first time he tries that fancy Dan stuff in this league, they'll cram the ball down his throat." As a result, the Tri-Cities Blackhawks drafted Cousy, but the point guard was unenthusiastic about his new employer. Cousy was trying to establish a driving school in Worcester, Massachusetts and did not want to relocate to the Midwestern triangle of the three small towns of Moline, Rock Island and Davenport. As compensation for having to give up his driving school, Cousy demanded a salary of $10,000 from Blackhawks owner Ben Kerner. When Kerner offered him only $6,000, Cousy refused to report. Cousy was then picked up by the Chicago Stags, but when they folded, league Commissioner Maurice Podoloff declared three Stags available for a dispersal draft: team scoring leader Max Zaslofsky, Andy Phillip and Cousy. Celtics owner Walter A. Brown was one of the three club bosses invited. He later made it clear that he was hoping for Zaslofsky, would have tolerated Phillip, and did not want Cousy. When the Celtics drew Cousy, Brown confessed: "I could have fallen to the floor." Brown reluctantly gave him a $9,000 salary. It was not long before both Auerbach and Brown changed their minds. With averages of 15.6 points, 6.9 rebounds and 4.9 assists a game, Cousy received the first of his 13 consecutive NBA All-Star selections and led a Celtics team with future Naismith Memorial Basketball Hall of Famers Ed Macauley and Bones McKinney to a 39–30 record in the 1950–51 NBA season. However, in the 1951 NBA Playoffs, the Celtics were beaten by the New York Knicks. With future Hall-of-Fame guard Bill Sharman on board the next season, Cousy averaged 21.7 points, 6.4 rebounds and 6.7 assists per game en route to his first All-NBA First Team nomination. Nonetheless, the Celtics lost to the Knicks in the 1952 NBA Playoffs. In the following season, Cousy made further progress. Averaging 7.7 assists per game, he won the first of his eight consecutive assists titles. These numbers were made despite the fact that the NBA had not yet introduced the shot clock, making the game static and putting prolific assist givers at a disadvantage. Powered by Auerbach's quick fastbreak-dominated tactics, the Celtics won 46 games and beat the Syracuse Nationals 2–0 in the 1953 NBA Playoffs. Game 2 ended 111–105 in a 4-overtime thriller, in which Cousy had a much-lauded game. Despite having an injured leg, he scored 25 points after four quarters, scored 6 of his team's 9 points in the first overtime, hit a clutch free throw in the last seconds, and scored all 4 of Boston's points in the second overtime. He scored 8 more points in the third overtime, among them a 25-ft. buzzer beater. In the fourth overtime, he scored 9 of Boston's 12 points. Cousy played 66 minutes, and scored 50 points after making a still-standing record of 30 free throws in 32 attempts. This game is regarded by the NBA as one of the finest scoring feats ever, in line with Wilt Chamberlain's 100-point game. However, for the third time in a row, the Knicks beat Boston in the next round. In the next three years, Cousy firmly established himself as one of the league's best point guards. Leading the league in assists all 3 seasons, and averaging 20 points and 7 rebounds, the versatile Cousy earned himself three more All-NBA First Team and All-Star honors, and was also Most Valuable Player of the 1954 NBA All-Star Game. In terms of playing style, Cousy introduced an array of visually attractive street basketball moves, described by the NBA as a mix of ambidextrous, behind-the-back dribbling and "no-look passes, behind-the-back feeds or half-court fastbreak launches". Cousy's modus operandi contrasted with the rest of the NBA, which was dominated by muscular low post scorers and deliberate set shooters. Soon, he was called "Houdini of the Hardwood" after the magician Harry Houdini. Cousy's crowd-pleasing and effective play drew the crowd into the Boston Garden and also won over coach Auerbach, who no longer saw him as a liability, but as an essential building block for the future. The Celtics eventually added two talented forwards, future Hall-of-Famer Frank Ramsey and defensive specialist Jim Loscutoff. Along with Celtics colleague Bob Brannum, Loscutoff also became Cousy's unofficial bodyguard, retaliating against opposing players who would try to hurt him. The Celtics were unable to make their mark in the 1954 NBA Playoffs, 1955 NBA Playoffs, and 1956 NBA Playoffs, where they lost three times in a row against the Nationals. Cousy attributed the shortcomings to fatigue, stating: "We would get tired in the end and could not get the ball". As a result, Auerbach sought a defensive center who could get easy rebounds, initiate fast breaks and close out games. Dynasty years (1957–1963) Before the 1956–57 NBA season, Auerbach drafted two future Hall-of-Famers: forward Tom Heinsohn, and defensive center Bill Russell. Powered by these new players, the Celtics went 44–28 in the regular season, and Cousy averaged 20.6 points, 4.8 rebounds and a league-leading 7.5 assists, earning his first NBA Most Valuable Player Award; he also won his second NBA All-Star Game MVP award. The Celtics reached the 1957 NBA Finals, and powered by Cousy on offense and rugged center Russell on defense, they beat the Hawks 4–3, who were noted for future Hall-of-Fame power forward Bob Pettit and former teammates Macauley and Hagan. Cousy finally won his first title. In the 1957–58 NBA season, Cousy had yet another highly productive year, with his 20.0 points, 5.5 rebounds and 8.6 assists per game leading to nominations into the All-NBA First Team and the All-Star team. He again led the NBA in assists. The Celtics reached the 1958 NBA Finals against the Hawks, but when Russell succumbed to a foot injury in Game 3, the Celtics faded and bowed out four games to two. This was the last losing NBA playoff series in which Cousy would play. In the following 1958–59 NBA season, the Celtics got revenge on their opposition, powered by an inspired Cousy, who averaged 20.0 points, 5.5 rebounds and a league-high 8.6 assists a game, won another assists title and another pair of All-NBA First Team and All-Star team nominations. Late in the season, Cousy reasserted his playmaking dominance by setting an NBA record with 28 assists in a game against the Minneapolis Lakers. While that record was broken 19 years later, Cousy also set a record for 19 assists in a half which has never been broken. The Celtics stormed through the playoffs and, behind Cousy's 51 total assists (still a record for a four-game NBA Finals series), defeated the Minneapolis Lakers in the first 4–0 sweep ever in the 1959 NBA Finals. In the 1959–60 NBA season, Cousy was again productive, his 19.4 points, 4.7 rebounds and 9.5 assists per game earning him his eighth consecutive assists title and another joint All-NBA First Team and All-Star team nomination. Again, the Celtics defeated all opposition and won the 1960 NBA Finals 4–3 against the Hawks. A year later, the 32-year-old Cousy scored 18.1 points, 4.4 rebounds and 7.7 assists per game, winning another pair of All-NBA First Team and All-Star nominations, but failing to win the assists crown after eight consecutive seasons. However, the Celtics won the 1961 NBA Finals after convincingly beating the Hawks 4–1. In the 1961–62 NBA season, the aging Cousy slowly began to fade statistically, averaging 15.7 points, 3.5 rebounds and 7.8 assists, and was voted into the All-NBA Second Team after ten consecutive First Team nominations. Still, he enjoyed a satisfying postseason, winning the 1962 NBA Finals after 4–3 battles against two upcoming teams, the Philadelphia Warriors and Los Angeles Lakers. The Finals series against the Lakers was especially dramatic, because Lakers guard Frank Selvy failed to make a last-second buzzer beater in Game 7 which would have won the title. Finally, in the 1962–63 NBA season, the last of his career, Cousy averaged 13.2 points, 2.5 rebounds and 6.8 assists, and collected one last All-Star and All-NBA Second Team nomination. In the 1963 NBA Finals, the Celtics again won 4–2 against the Lakers, and Cousy finished his career on a high note: in the fourth quarter of Game 6, Cousy sprained an ankle and had to be helped to the bench. He went back in with Boston up 1. Although he did not score again, he was credited with providing an emotional lift that carried the Celtics to victory, 112–109. The game ended with Cousy throwing the ball into the rafters. Retirement At age 34, Cousy held his retirement ceremony on March 17, 1963, in a packed Boston Garden. The event became known as the Boston Tear Party, when the crowd's response overwhelmed Cousy, left him speechless, and caused his planned 7-minute farewell to go on for 20. Joe Dillon, a water worker from South Boston, Massachusetts, and a devoted Celtics fan, screamed "We love ya, Cooz", breaking the tension and the crowd went into cheers. As a testament to Cousy's legacy, President John F. Kennedy wired to Cousy: "The game bears an indelible stamp of your rare skills and competitive daring." NBA career statistics Regular season Playoffs Post-playing career After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91–86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 114 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals. Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973–74 NBA season with a 141–209 record. Despite his unfamiliarity with the sport, Cousy was appointed Commissioner of the American Soccer League on December 19, 1974. His most notable act as commissioner was to declare the New York Apollo and Boston Astros co‐champions after both teams played 67 minutes of extra time without resolution in the second and deciding leg of the league's championship series on September 20, 1975. He was relieved of his duties on December 1, 1979. Pennsylvania Stoners club owner Willie Ehrlich explained the dismissal by stating, "After five years as commissioner, Cousy still goes around telling people he knows nothing about soccer." He was a color analyst on Celtics telecasts during the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman (and with ex-Celtic teammate Tom Heinsohn prior to Heinsohn's death on November 9, 2020). Coaching record College coaching record NBA coaching record \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|5th in Eastern\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|33\|\|49\|\|.402\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|30\|\|52\|\|.366\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|4th in Midwest\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|20\|\|6\|\|14\|\|.300\|\| align="center" \|(resigned)\|\|—\|\|—\|\|—\|\|— \| align="center" \|— \|-class="sortbottom" \| align="left" \|Career \| \|\|348\|\|141\|\|207\|\|.405\|\| \|\|—\|\|—\|\|—\|\|— \| align="center" \|— Legacy NBA Players Union In 1954, the NBA had no health benefits, pension plan, minimum salary, and the average player's salary was $8,000 ($82,000 in 2021 dollars) a season. To combat this, Cousy organized the National Basketball Players Association, the first trade union among those in the four major North American professional sports leagues. Cousy served as its first president until 1958. In his 13-year, 924-game NBA playing career, Cousy finished with 16,960 points, 4,786 rebounds and 6,955 assists, translating to averages of 18.4 points, 5.2 rebounds and 7.5 assists per game. He was regarded as the first great point guard of the NBA, winning eight of the first 11 assist titles in the league, all of them en bloc, and had a highly successful career, winning six NBA titles, one MVP award, 13 All-Star and 12 All-NBA First and Second Team call-ups and two All-Star MVP awards. With his eye-catching dribbling and unorthodox passing, Cousy popularized modern guard play and raised the profile of the Boston Celtics and the entire NBA. His fast-paced playing style was later emulated by the likes of Pete Maravich and Magic Johnson. In recognition of his feats, Cousy was inducted into the Naismith Memorial Basketball Hall of Fame in 1971 and honored by the Celtics, who retired his uniform number, 14. Celtics owner Walter Brown said: "The Celtics wouldn't be here without him [Cousy]. He made basketball in this town. If he had played in New York he would have been the biggest thing since [New York Yankees baseball legend] Babe Ruth. I think he is anyway." In addition, on May 11, 2006, ESPN.com rated Cousy as the fifth-greatest point guard of all time, lauding him as "ahead of his time with his ballhandling and passing skills" and pointing out he is one of only seven point guards ever to win an NBA Most Valuable Player award. On November 16, 2008, Cousy's college uniform number, 17, was hoisted to the Hart Center rafters. During halftime of a game between the Holy Cross Crusaders and St. Joseph's Hawks, the uniform numbers of Cousy, George Kaftan, Togo Palazzi, and Tommy Heinsohn became the first to hang from the gymnasium's ceiling. On July 1, 2019, Cousy advised The Boston Globe that he had received an official letter notifying him that he would receive the Presidential Medal of Freedom from President Donald Trump on August 22, 2019. He received the medal at a ceremony in the Oval Office. A statue of Cousy was installed outside the DCU Center in Worcester, Massachusetts, in 2021. Personal life Cousy married his college sweetheart, Missie Ritterbusch, in December 1950, six months after he graduated from Holy Cross. They lived in Worcester, Massachusetts, and had two daughters. His wife died on September 20, 2013, after suffering from dementia for several years. Cousy was well-known, both on and off the court, for his public stance against racism, a result of his upbringing in a multicultural environment. In 1950, the Celtics played a game in the then-segregated city of Charlotte, North Carolina, and teammate Chuck Cooper—the first African-American in NBA history to be drafted—would have been denied a hotel room. Instead of taking the hotel room, Cousy insisted on travelling with Cooper on an uncomfortable overnight train. He described their visit to a segregated men's toilet—Cooper was prohibited from using the clean "for whites" bathroom and had to use the shabby "for colored" facility—as one of the most shameful experiences of his life. He also sympathized with the plight of black Celtics star Bill Russell, who was frequently a victim of racism. Cousy was close to his Celtics mentor, head coach Red Auerbach, and was one of the few permitted to call him "Arnold", his given name, instead of his nickname "Red". See also List of athletes who came out of retirement List of National Basketball Association career assists leaders List of National Basketball Association career free throw scoring leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association players with most assists in a game List of National Basketball Association single-game playoff scoring leaders References External links Bob Cousy on nba.com 1928 births Living people All-American college men's basketball players American men's basketball players American people of French descent American sports announcers Andrew Jackson High School (Queens) alumni Basketball coaches from New York (state) Basketball players at the 1947 NCAA Final Four Basketball players at the 1948 NCAA Final Four Basketball players from New York City Basketball players from Worcester, Massachusetts Boston Celtics announcers Boston Celtics players Boston College Eagles men's basketball coaches Cincinnati Royals head coaches Cincinnati Royals players College men's basketball head coaches in the United States Holy Cross Crusaders men's basketball players Kansas City-Omaha Kings head coaches Kansas City Kings head coaches Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association broadcasters National Basketball Association players with retired numbers National Basketball Players Association presidents People from St. Albans, Queens People from Yorkville, Manhattan Player-coaches Point guards Presidential Medal of Freedom recipients Sportspeople from Manhattan Tri-Cities Blackhawks draft picks	true	[ "Bob Rodgers is a former sportscaster and producer who worked for the New England Sports Network from 1987 to 2004.\n\nRodgers joined NESN in 1987 as an associate producer. He became an on-camera personality in June 1993; co-hosting SportsDesk with Dawn Mitchell. In 1996 he became the host of the Boston Red Sox pre- and postgame shows. In addition to hosting, Rodgers served as a play-by-play announcer for NESN's coverage of the Pawtucket Red Sox and was the network's play-by-play announcer for the final six weeks of the 2000 Boston Red Sox season. \nRodgers won the station's first EMMY award for the groundbreaking morning show, Sportsdesk. He went on to win 5 more EMMY awards including the 2000 award for Outstanding Play by Play (Pedro Martinez fires a 1-hitter at Tampa Bay) and in 2002 (Derek Lowe's no-hitter).\n\nRodgers was fired by NESN in March 2004 after he left spring training without permission to coach the Whitman-Hanson Regional High School boys' basketball team in the state tournament.\n\nAlthough Rodgers continues his broadcasting work on a freelance basis, he has worked full-time in education since September 2004 serving as a high school English and communications teacher. In June 2011 he took over as the athletic director at Whitman-Hanson Regional High School in a suburb of Boston. He is the winningest boys basketball coach in the history of the school with more than 200 wins since he took the reins in 2000. Rodgers has also coached basketball at Holbrook, Norwell and Silver Lake.\n\nIn addition to coaching basketball, Rodgers also coached high school baseball for many years becoming the youngest division 1 head coach in the state of Massachusetts in 1989 when he was hired to coach Silver Lake. He remained at Silver Lake until 2001. He did not coach baseball again until taking over at Hingham High School in 2009. In his three years at Hingham the Harbormen won 2 league titles. He also finished the 2012 baseball season at Whitman Hanson when a coach resigned during the season.\n\nReferences\n\nAmerican television reporters and correspondents\nBoston sportscasters\nTelevision anchors from Boston\nBoston Red Sox announcers\nLiving people\nMajor League Baseball broadcasters\nYear of birth missing (living people)", "is a former Japanese football player.\n\nPlaying career\nIwamaru was born in Fujioka on December 4, 1981. After graduating from high school, he joined the J1 League club Vissel Kobe in 2000. However he did not play as much as Makoto Kakegawa until 2003. In 2004, he played more often, after Kakegawa got hurt. In September 2004, he moved to Júbilo Iwata. In late 2004, he played often, after regular goalkeeper Yohei Sato got hurt. In 2005, he moved to the newly promoted J2 League club, Thespa Kusatsu (later Thespakusatsu Gunma), based in his home region. He competed with Nobuyuki Kojima for the position and played often. \n\nIn 2006, he moved to the newly promoted J1 club, Avispa Fukuoka. However he did not play as much as Yuichi Mizutani. In 2007, he moved to the newly promoted J1 club, Yokohama FC. However he did not play as much as Takanori Sugeno and the club was relegated to J2 within a year. Although he did not play as much as Kenji Koyama in 2008, he played often in 2009. He did not play at all in 2010. \n\nIn 2011, he moved to the J2 club Roasso Kumamoto. He did not play as much as Yuta Minami. In 2013, he moved to the newly promoted J2 club, V-Varen Nagasaki. Although he played in the first three matches, he did play at all after the fourth match, when Junki Kanayama played in his place. In 2014, he moved to the J2 club Thespakusatsu Gunma based in his local region. However he did not play at all, and retired at the end of the 2014 season.\n\nClub statistics\n\nReferences\n\nExternal links \n\n \n\n1981 births\nLiving people\nAssociation football people from Gunma Prefecture\nJapanese footballers\nJ1 League players\nJ2 League players\nVissel Kobe players\nJúbilo Iwata players\nThespakusatsu Gunma players\nAvispa Fukuoka players\nYokohama FC players\nRoasso Kumamoto players\nV-Varen Nagasaki players\nAssociation football goalkeepers" ]
[ "Bob Cousy", "Andrew Jackson High SchoolEdit", "What did he do in high school?", "His basketball success was not immediate, and in fact he was cut from the school team in his first year.", "Did he play his second year?", "The next year, however, he was again cut during the tryouts for the school basketball team.", "When did he play in high school?", "During a Press League game, the high school basketball coach saw him play." ]	C_c1f5802ee0c6469f8ce371c39ac805b0_1	What did the coach do after seeing him play?	4	What did the coach do after seeing Bob Cousy play basketball during a Press League game?	Bob Cousy	Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. CANNOTANSWER	invited Cousy to come to practice the following day to try out for the junior varsity team.	Robert Joseph Cousy (, born August 9, 1928) is an American former professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963, and briefly with the Cincinnati Royals in the 1969–70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament, and won NCAA All-American honors for three seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston. He had an exceptionally successful career with the Celtics, leading the league an unprecedented 8 straight years in assists, playing on six NBA championship teams, and being voted into 13 NBA All-Star Games in his 13 full NBA seasons. He was also named to 12 All-NBA First and Second Teams and won the 1957 NBA Most Valuable Player Award. En route to his assist streak that was unmatched either in number of crowns or consecutive years, Cousy introduced a new blend of ball-handling and passing skills to the NBA that earned him the nickname "The Houdini of the Hardwood". Also known as "Cooz", he was regularly introduced at Boston Garden as "Mr. Basketball". After his playing career, he coached the Royals for several years, capped by a seven-game cameo comeback for them at age 41. Cousy then became a broadcaster for Celtics games. Upon his election to the Naismith Memorial Basketball Hall of Fame in 1971 the Celtics retired his No. 14 jersey and hung it in the rafters of the Garden. Cousy was named to the NBA 25th Anniversary Team in 1971, the NBA 35th Anniversary Team in 1981, and the NBA's 50th Anniversary All-Time Team in 1996, making him one of only four players that were selected to each of those teams. He was also the first president of National Basketball Players Association. On August 22, 2019, he was awarded the Presidential Medal of Freedom by Donald Trump. In October 2021, Cousy was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Early years Cousy was the only son of poor French immigrants living in New York City. He grew up in the Yorkville neighborhood of Manhattan's East Side, in the midst of the Great Depression. His father Joseph was a cab driver, who earned extra income by moonlighting. The elder Cousy had served in the German Army during World War I. Shortly after the war, his first wife died of pneumonia, leaving behind a young daughter. He married Julie Corlet, a secretary and French teacher from Dijon. At the time of the 1930 census, the family was renting an apartment in Astoria, Queens, for $50 per month. The younger Cousy spoke French for the first 5 years of his life, and started to speak English only after entering primary school. He spent his early days playing stickball in a multicultural environment, regularly playing with African Americans, Jews and other ethnic minority children. These experiences ingrained him with a strong anti-racist sentiment, an attitude he prominently promoted during his professional career. When he was 12, his family moved to a rented house in St. Albans, Queens. That summer, the elder Cousy put a $500 down payment for a $4,500 house four blocks away. He rented out the bottom two floors of the three-story building to tenants to help make his mortgage payments on time. Andrew Jackson High School Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. Holy Cross Cousy was one of six freshmen on the Holy Cross Crusaders' varsity basketball team in 1946–47. From the start of the season, coach Doggie Julian chose to play the six freshmen off the bench in a two-team system, so that each player would get some time on the court. As members of the "second team", they would come off the bench nine and a half minutes into the game, where they would relieve the "first team" starters. They would sometimes get to play as much as a third or even half of the game, but even at that Cousy was so disappointed with the lack of playing time that he went to the campus chapel after practice to pray that Julian would give him more of a chance to show off his talents on the court. Early in the season, however, he got into trouble with Julian, who accused him of being a showboater. Even as late as that 1946–47 season basketball was a static game, depending on slow, deliberate player movement and flat-footed shots. Far different was Cousy's up-tempo, streetball-like game, marked by ambidextrous finesse play and notable for behind-the-back dribbling and no-look, behind-the-back and half-court passing. Even so, he had enough playing time in games to score 227 points for the season, finishing with the third-highest total on the team. Led by stars George Kaftan and Joe Mullaney, the Crusaders finished the 1946–47 basketball season 24–3. On the basis of that record, Holy Cross got into the 1947 NCAA Tournament as the last seed in the then only eight-team tournament. In the first game, they defeated Navy 55–47 in front of a sell-out crowd at Madison Square Garden. Mullaney led the team in scoring with 18 points, thanks to Navy coach Ben Carnevale's decision to have his players back off from Mullaney, who was reputed as being more of a playmaker than a shooter. In the semifinal game, the Crusaders faced CCNY, coached by Nat Holman, one of the game's earliest innovators. Led by Kaftan's 30 points, Holy Cross easily defeated the Beavers 60–45. In the championship game, the Crusaders faced Oklahoma, coached by Bruce Drake, in another sold-out game at Madison Square Garden. Kaftan followed up his 30-point semifinal heroics with a mere 18 points in the title game, which was far more than enough for the team to defeat the Sooners 58–47. Cousy played poorly, however, scoring only four points on 2-for-13 shots. Holy Cross became the first New England college to win the NCAA tournament. On their arrival back in Worcester, the team was given a hero's welcome by about 10,000 cheering fans who met their train at Union Station. The following season Julian limited Cousy's playing time, to the point that the frustrated sophomore contemplated transferring out of Holy Cross. Cousy wrote a letter to coach Joe Lapchick of St. John's University in New York, informing him that he was considering a transfer there. Lapchick wrote back to Cousy that he considered Julian "one of the finest basketball coaches in America" and that he believed Julian had no bad intentions in restricting his playing time. He told Cousy that Julian would use him more often during his later years with the team. Lapchick alerted Cousy that transferring was a very risky move: according to NCAA rules, the player would be required to sit out a year before becoming eligible to play for the school to which he transferred. During Cousy's senior year of 1949–1950, his fate changed in a match against Loyola of Chicago at Boston Garden. With 5 minutes left and Holy Cross trailing, the crowd started to chant "We want Cousy!" until coach Julian relented. In these few minutes, Cousy scored 11 points and hit a game-winning buzzer-beater coming off a behind-the-back dribble. The performance established him as a team leader, and he then led Holy Cross to 26 straight wins and a Number 4 national ranking. A three-time All-American, Cousy ended his college career in the 1950 NCAA Tournament, when Holy Cross fell to North Carolina State in an opening-round game at Madison Square Garden. CCNY would go on to win the tournament. Boston Celtics Early years (1950–1956) Cousy turned pro and made himself available for the 1950 NBA draft. The Boston Celtics had just concluded the 1949–50 NBA season with a poor 22–46 win-loss record and had the first draft pick. It was strongly anticipated that they would draft the highly coveted local favorite Cousy. However, coach Red Auerbach snubbed him for center Charlie Share, saying: "Am I supposed to win, or please the local yokels?" The local press strongly criticized Auerbach, but other scouts were also skeptical about Cousy, viewing him as flamboyant but ineffective. One scout wrote in his report: "The first time he tries that fancy Dan stuff in this league, they'll cram the ball down his throat." As a result, the Tri-Cities Blackhawks drafted Cousy, but the point guard was unenthusiastic about his new employer. Cousy was trying to establish a driving school in Worcester, Massachusetts and did not want to relocate to the Midwestern triangle of the three small towns of Moline, Rock Island and Davenport. As compensation for having to give up his driving school, Cousy demanded a salary of $10,000 from Blackhawks owner Ben Kerner. When Kerner offered him only $6,000, Cousy refused to report. Cousy was then picked up by the Chicago Stags, but when they folded, league Commissioner Maurice Podoloff declared three Stags available for a dispersal draft: team scoring leader Max Zaslofsky, Andy Phillip and Cousy. Celtics owner Walter A. Brown was one of the three club bosses invited. He later made it clear that he was hoping for Zaslofsky, would have tolerated Phillip, and did not want Cousy. When the Celtics drew Cousy, Brown confessed: "I could have fallen to the floor." Brown reluctantly gave him a $9,000 salary. It was not long before both Auerbach and Brown changed their minds. With averages of 15.6 points, 6.9 rebounds and 4.9 assists a game, Cousy received the first of his 13 consecutive NBA All-Star selections and led a Celtics team with future Naismith Memorial Basketball Hall of Famers Ed Macauley and Bones McKinney to a 39–30 record in the 1950–51 NBA season. However, in the 1951 NBA Playoffs, the Celtics were beaten by the New York Knicks. With future Hall-of-Fame guard Bill Sharman on board the next season, Cousy averaged 21.7 points, 6.4 rebounds and 6.7 assists per game en route to his first All-NBA First Team nomination. Nonetheless, the Celtics lost to the Knicks in the 1952 NBA Playoffs. In the following season, Cousy made further progress. Averaging 7.7 assists per game, he won the first of his eight consecutive assists titles. These numbers were made despite the fact that the NBA had not yet introduced the shot clock, making the game static and putting prolific assist givers at a disadvantage. Powered by Auerbach's quick fastbreak-dominated tactics, the Celtics won 46 games and beat the Syracuse Nationals 2–0 in the 1953 NBA Playoffs. Game 2 ended 111–105 in a 4-overtime thriller, in which Cousy had a much-lauded game. Despite having an injured leg, he scored 25 points after four quarters, scored 6 of his team's 9 points in the first overtime, hit a clutch free throw in the last seconds, and scored all 4 of Boston's points in the second overtime. He scored 8 more points in the third overtime, among them a 25-ft. buzzer beater. In the fourth overtime, he scored 9 of Boston's 12 points. Cousy played 66 minutes, and scored 50 points after making a still-standing record of 30 free throws in 32 attempts. This game is regarded by the NBA as one of the finest scoring feats ever, in line with Wilt Chamberlain's 100-point game. However, for the third time in a row, the Knicks beat Boston in the next round. In the next three years, Cousy firmly established himself as one of the league's best point guards. Leading the league in assists all 3 seasons, and averaging 20 points and 7 rebounds, the versatile Cousy earned himself three more All-NBA First Team and All-Star honors, and was also Most Valuable Player of the 1954 NBA All-Star Game. In terms of playing style, Cousy introduced an array of visually attractive street basketball moves, described by the NBA as a mix of ambidextrous, behind-the-back dribbling and "no-look passes, behind-the-back feeds or half-court fastbreak launches". Cousy's modus operandi contrasted with the rest of the NBA, which was dominated by muscular low post scorers and deliberate set shooters. Soon, he was called "Houdini of the Hardwood" after the magician Harry Houdini. Cousy's crowd-pleasing and effective play drew the crowd into the Boston Garden and also won over coach Auerbach, who no longer saw him as a liability, but as an essential building block for the future. The Celtics eventually added two talented forwards, future Hall-of-Famer Frank Ramsey and defensive specialist Jim Loscutoff. Along with Celtics colleague Bob Brannum, Loscutoff also became Cousy's unofficial bodyguard, retaliating against opposing players who would try to hurt him. The Celtics were unable to make their mark in the 1954 NBA Playoffs, 1955 NBA Playoffs, and 1956 NBA Playoffs, where they lost three times in a row against the Nationals. Cousy attributed the shortcomings to fatigue, stating: "We would get tired in the end and could not get the ball". As a result, Auerbach sought a defensive center who could get easy rebounds, initiate fast breaks and close out games. Dynasty years (1957–1963) Before the 1956–57 NBA season, Auerbach drafted two future Hall-of-Famers: forward Tom Heinsohn, and defensive center Bill Russell. Powered by these new players, the Celtics went 44–28 in the regular season, and Cousy averaged 20.6 points, 4.8 rebounds and a league-leading 7.5 assists, earning his first NBA Most Valuable Player Award; he also won his second NBA All-Star Game MVP award. The Celtics reached the 1957 NBA Finals, and powered by Cousy on offense and rugged center Russell on defense, they beat the Hawks 4–3, who were noted for future Hall-of-Fame power forward Bob Pettit and former teammates Macauley and Hagan. Cousy finally won his first title. In the 1957–58 NBA season, Cousy had yet another highly productive year, with his 20.0 points, 5.5 rebounds and 8.6 assists per game leading to nominations into the All-NBA First Team and the All-Star team. He again led the NBA in assists. The Celtics reached the 1958 NBA Finals against the Hawks, but when Russell succumbed to a foot injury in Game 3, the Celtics faded and bowed out four games to two. This was the last losing NBA playoff series in which Cousy would play. In the following 1958–59 NBA season, the Celtics got revenge on their opposition, powered by an inspired Cousy, who averaged 20.0 points, 5.5 rebounds and a league-high 8.6 assists a game, won another assists title and another pair of All-NBA First Team and All-Star team nominations. Late in the season, Cousy reasserted his playmaking dominance by setting an NBA record with 28 assists in a game against the Minneapolis Lakers. While that record was broken 19 years later, Cousy also set a record for 19 assists in a half which has never been broken. The Celtics stormed through the playoffs and, behind Cousy's 51 total assists (still a record for a four-game NBA Finals series), defeated the Minneapolis Lakers in the first 4–0 sweep ever in the 1959 NBA Finals. In the 1959–60 NBA season, Cousy was again productive, his 19.4 points, 4.7 rebounds and 9.5 assists per game earning him his eighth consecutive assists title and another joint All-NBA First Team and All-Star team nomination. Again, the Celtics defeated all opposition and won the 1960 NBA Finals 4–3 against the Hawks. A year later, the 32-year-old Cousy scored 18.1 points, 4.4 rebounds and 7.7 assists per game, winning another pair of All-NBA First Team and All-Star nominations, but failing to win the assists crown after eight consecutive seasons. However, the Celtics won the 1961 NBA Finals after convincingly beating the Hawks 4–1. In the 1961–62 NBA season, the aging Cousy slowly began to fade statistically, averaging 15.7 points, 3.5 rebounds and 7.8 assists, and was voted into the All-NBA Second Team after ten consecutive First Team nominations. Still, he enjoyed a satisfying postseason, winning the 1962 NBA Finals after 4–3 battles against two upcoming teams, the Philadelphia Warriors and Los Angeles Lakers. The Finals series against the Lakers was especially dramatic, because Lakers guard Frank Selvy failed to make a last-second buzzer beater in Game 7 which would have won the title. Finally, in the 1962–63 NBA season, the last of his career, Cousy averaged 13.2 points, 2.5 rebounds and 6.8 assists, and collected one last All-Star and All-NBA Second Team nomination. In the 1963 NBA Finals, the Celtics again won 4–2 against the Lakers, and Cousy finished his career on a high note: in the fourth quarter of Game 6, Cousy sprained an ankle and had to be helped to the bench. He went back in with Boston up 1. Although he did not score again, he was credited with providing an emotional lift that carried the Celtics to victory, 112–109. The game ended with Cousy throwing the ball into the rafters. Retirement At age 34, Cousy held his retirement ceremony on March 17, 1963, in a packed Boston Garden. The event became known as the Boston Tear Party, when the crowd's response overwhelmed Cousy, left him speechless, and caused his planned 7-minute farewell to go on for 20. Joe Dillon, a water worker from South Boston, Massachusetts, and a devoted Celtics fan, screamed "We love ya, Cooz", breaking the tension and the crowd went into cheers. As a testament to Cousy's legacy, President John F. Kennedy wired to Cousy: "The game bears an indelible stamp of your rare skills and competitive daring." NBA career statistics Regular season Playoffs Post-playing career After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91–86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 114 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals. Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973–74 NBA season with a 141–209 record. Despite his unfamiliarity with the sport, Cousy was appointed Commissioner of the American Soccer League on December 19, 1974. His most notable act as commissioner was to declare the New York Apollo and Boston Astros co‐champions after both teams played 67 minutes of extra time without resolution in the second and deciding leg of the league's championship series on September 20, 1975. He was relieved of his duties on December 1, 1979. Pennsylvania Stoners club owner Willie Ehrlich explained the dismissal by stating, "After five years as commissioner, Cousy still goes around telling people he knows nothing about soccer." He was a color analyst on Celtics telecasts during the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman (and with ex-Celtic teammate Tom Heinsohn prior to Heinsohn's death on November 9, 2020). Coaching record College coaching record NBA coaching record \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|5th in Eastern\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|33\|\|49\|\|.402\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|30\|\|52\|\|.366\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|4th in Midwest\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|20\|\|6\|\|14\|\|.300\|\| align="center" \|(resigned)\|\|—\|\|—\|\|—\|\|— \| align="center" \|— \|-class="sortbottom" \| align="left" \|Career \| \|\|348\|\|141\|\|207\|\|.405\|\| \|\|—\|\|—\|\|—\|\|— \| align="center" \|— Legacy NBA Players Union In 1954, the NBA had no health benefits, pension plan, minimum salary, and the average player's salary was $8,000 ($82,000 in 2021 dollars) a season. To combat this, Cousy organized the National Basketball Players Association, the first trade union among those in the four major North American professional sports leagues. Cousy served as its first president until 1958. In his 13-year, 924-game NBA playing career, Cousy finished with 16,960 points, 4,786 rebounds and 6,955 assists, translating to averages of 18.4 points, 5.2 rebounds and 7.5 assists per game. He was regarded as the first great point guard of the NBA, winning eight of the first 11 assist titles in the league, all of them en bloc, and had a highly successful career, winning six NBA titles, one MVP award, 13 All-Star and 12 All-NBA First and Second Team call-ups and two All-Star MVP awards. With his eye-catching dribbling and unorthodox passing, Cousy popularized modern guard play and raised the profile of the Boston Celtics and the entire NBA. His fast-paced playing style was later emulated by the likes of Pete Maravich and Magic Johnson. In recognition of his feats, Cousy was inducted into the Naismith Memorial Basketball Hall of Fame in 1971 and honored by the Celtics, who retired his uniform number, 14. Celtics owner Walter Brown said: "The Celtics wouldn't be here without him [Cousy]. He made basketball in this town. If he had played in New York he would have been the biggest thing since [New York Yankees baseball legend] Babe Ruth. I think he is anyway." In addition, on May 11, 2006, ESPN.com rated Cousy as the fifth-greatest point guard of all time, lauding him as "ahead of his time with his ballhandling and passing skills" and pointing out he is one of only seven point guards ever to win an NBA Most Valuable Player award. On November 16, 2008, Cousy's college uniform number, 17, was hoisted to the Hart Center rafters. During halftime of a game between the Holy Cross Crusaders and St. Joseph's Hawks, the uniform numbers of Cousy, George Kaftan, Togo Palazzi, and Tommy Heinsohn became the first to hang from the gymnasium's ceiling. On July 1, 2019, Cousy advised The Boston Globe that he had received an official letter notifying him that he would receive the Presidential Medal of Freedom from President Donald Trump on August 22, 2019. He received the medal at a ceremony in the Oval Office. A statue of Cousy was installed outside the DCU Center in Worcester, Massachusetts, in 2021. Personal life Cousy married his college sweetheart, Missie Ritterbusch, in December 1950, six months after he graduated from Holy Cross. They lived in Worcester, Massachusetts, and had two daughters. His wife died on September 20, 2013, after suffering from dementia for several years. Cousy was well-known, both on and off the court, for his public stance against racism, a result of his upbringing in a multicultural environment. In 1950, the Celtics played a game in the then-segregated city of Charlotte, North Carolina, and teammate Chuck Cooper—the first African-American in NBA history to be drafted—would have been denied a hotel room. Instead of taking the hotel room, Cousy insisted on travelling with Cooper on an uncomfortable overnight train. He described their visit to a segregated men's toilet—Cooper was prohibited from using the clean "for whites" bathroom and had to use the shabby "for colored" facility—as one of the most shameful experiences of his life. He also sympathized with the plight of black Celtics star Bill Russell, who was frequently a victim of racism. Cousy was close to his Celtics mentor, head coach Red Auerbach, and was one of the few permitted to call him "Arnold", his given name, instead of his nickname "Red". See also List of athletes who came out of retirement List of National Basketball Association career assists leaders List of National Basketball Association career free throw scoring leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association players with most assists in a game List of National Basketball Association single-game playoff scoring leaders References External links Bob Cousy on nba.com 1928 births Living people All-American college men's basketball players American men's basketball players American people of French descent American sports announcers Andrew Jackson High School (Queens) alumni Basketball coaches from New York (state) Basketball players at the 1947 NCAA Final Four Basketball players at the 1948 NCAA Final Four Basketball players from New York City Basketball players from Worcester, Massachusetts Boston Celtics announcers Boston Celtics players Boston College Eagles men's basketball coaches Cincinnati Royals head coaches Cincinnati Royals players College men's basketball head coaches in the United States Holy Cross Crusaders men's basketball players Kansas City-Omaha Kings head coaches Kansas City Kings head coaches Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association broadcasters National Basketball Association players with retired numbers National Basketball Players Association presidents People from St. Albans, Queens People from Yorkville, Manhattan Player-coaches Point guards Presidential Medal of Freedom recipients Sportspeople from Manhattan Tri-Cities Blackhawks draft picks	true	[ "Marcia: Greatest Hits 1975–1983 is a compilation album released on 22 November 2004. \nIt was released just two months after the release of Hinesight.\n\nThe album contains tracks taken from the albums, Marcia Shines, Shining, Ladies and Gentlemen, Ooh Child, Take it From the Boys and Love Sides.\n\nIn 2020, the album was released digitally with a slightly altered track listing. The first 17 songs are the same, but tracks 18-27 were not on the original release.\n\nTrack listing\n Standard edition\n \"Fire and Rain\" (4:44)\n \"From the Inside\" (3:28)\n \"Trilogy\" (4:20)\n \"Don't Let the Grass Grow\" (2:59)\n \"I Just Don't Know What to Do with Myself\" (3:08)\n \"Shining\" (3:41)\n \"(Until) Your Love Broke Through\" (3:17)\n \"Empty\" (2:35)\n \"A Love Story\" (3:33)\n \"I've Got the Music in Me\" (4:12)\n \"What I Did for Love\" (3:17)\n \"You\" (3:12)\n \"I Don't Know How to Love Him\" (3:48)\n \"Music Is My Life\" (2:08)\n \"Let the Music Play\" (4:29)\n \"Something's Missing (In My Life)\" (4:38)\n \"Where Did We Go Wrong\" (4:04)\n \"Your Love Still Brings Me to My Knees\" (3:33)\n \"What a Bitch Is Love\" (3:50)\n \"Heart Like a Radio\" (3:51)\n\n 2020 Digital Edition\n \"Fire and Rain\" (4:44)\n \"From the Inside\" (3:28)\n \"Trilogy\" (4:20)\n \"Don’t Let the Grass Grow\" (2:59)\n \"I Just Don't Know What to Do with Myself\" (3:08)\n \"Shining\" (3:41)\n \"(Until) Your Love Broke Through\" (3:17)\n \"Empty\" (2:35)\n \"A Love Story\" (3:33)\n \"I've Got the Music In Me\" (4:12)\n \"What I Did for Love\" (3:17)\n \"You\" (3:12)\n \"I Don't Know How to Love Him\" (3:48)\n \"Music Is My Life\" (2:08)\n \"Let the Music Play\" (4:29)\n \"Something's Missing (In My Life)\" (4:38)\n \"Where Did We Go Wrong\" (4:04)\n \"You Gotta Go\" (3:30)\n \"Jumpin' Jack Flash\" (3:18)\n \"Dance You Fool Dance\" (5:19)\n \"Whatever Goes Around\" (2:58)\n \"Signed, Sealed, Delivered, I'm Yours\" (3:30)\n \"In a Mellow Mood\" (2:38)\n \"Believe in Me\" (1:41)\n \"Moments\" (3:27)\n \"You\" (2005 remix) (3:24)\n \"April Sun in Cuba\" (3\"34\n\nWeekly charts\nMarcia: Greatest Hits 1975-1983 debuted at 92 and peaked at 67 on 13 December 2004.\n\nRelease history\n\nReferences\n\nMarcia Hines compilation albums\n2004 greatest hits albums\nAlbums produced by David Mackay (producer)\nSony Music Australia compilation albums", "The authority of Jesus is questioned whilst he is teaching in the Temple in Jerusalem, as reported in all three synoptic gospels: , and .\n\nAccording to the Gospel of Matthew:\n \nJesus entered the temple courts, and, while he was teaching, the chief priests and the elders of the people came to him. \"By what authority are you doing these things?\" they asked. \"And who gave you this authority?\" \n\nJesus replied, \"I will also ask you one question. If you answer me, I will tell you by what authority I am doing these things. John's baptism — where did it come from? Was it from heaven, or of human origin?\"\n\nThey discussed it among themselves and said, \"If we say, 'From heaven', he will ask, 'Then why didn’t you believe him?' But if we say, 'Of human origin' - we are afraid of the people, for they all hold that John was a prophet\". So they answered Jesus, \"We don’t know\".\n\nThen he said, \"Neither will I tell you by what authority I am doing these things\". \n\nIn all three synoptic gospels, this episode takes place shortly after the cleansing of the Temple reported after Jesus' triumphal entry into the city. The word \"authority\" (, exousia) is frequently used in relation to Jesus in the New Testament.\n\nA similar episode is described in the Gospel of John at ) as part of the Cleansing of the Temple narrative. In John's account, after expelling the merchants and the money changers from the Temple, Jesus is confronted:\n \nThen the Jews said to Him, “What sign do You show us, seeing that You do these things?”\n\nSee also\n Gospel harmony\n\nNotes\n\nPassion of Jesus" ]
[ "Bob Cousy", "Andrew Jackson High SchoolEdit", "What did he do in high school?", "His basketball success was not immediate, and in fact he was cut from the school team in his first year.", "Did he play his second year?", "The next year, however, he was again cut during the tryouts for the school basketball team.", "When did he play in high school?", "During a Press League game, the high school basketball coach saw him play.", "What did the coach do after seeing him play?", "invited Cousy to come to practice the following day to try out for the junior varsity team." ]	C_c1f5802ee0c6469f8ce371c39ac805b0_1	Did he make the team?	5	Did Bob Cousy make the basketball team after being invited to try out for the junior varsity team?	Bob Cousy	Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. CANNOTANSWER	but failing his citizenship course made him ineligible for the first semester.	Robert Joseph Cousy (, born August 9, 1928) is an American former professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963, and briefly with the Cincinnati Royals in the 1969–70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament, and won NCAA All-American honors for three seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston. He had an exceptionally successful career with the Celtics, leading the league an unprecedented 8 straight years in assists, playing on six NBA championship teams, and being voted into 13 NBA All-Star Games in his 13 full NBA seasons. He was also named to 12 All-NBA First and Second Teams and won the 1957 NBA Most Valuable Player Award. En route to his assist streak that was unmatched either in number of crowns or consecutive years, Cousy introduced a new blend of ball-handling and passing skills to the NBA that earned him the nickname "The Houdini of the Hardwood". Also known as "Cooz", he was regularly introduced at Boston Garden as "Mr. Basketball". After his playing career, he coached the Royals for several years, capped by a seven-game cameo comeback for them at age 41. Cousy then became a broadcaster for Celtics games. Upon his election to the Naismith Memorial Basketball Hall of Fame in 1971 the Celtics retired his No. 14 jersey and hung it in the rafters of the Garden. Cousy was named to the NBA 25th Anniversary Team in 1971, the NBA 35th Anniversary Team in 1981, and the NBA's 50th Anniversary All-Time Team in 1996, making him one of only four players that were selected to each of those teams. He was also the first president of National Basketball Players Association. On August 22, 2019, he was awarded the Presidential Medal of Freedom by Donald Trump. In October 2021, Cousy was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Early years Cousy was the only son of poor French immigrants living in New York City. He grew up in the Yorkville neighborhood of Manhattan's East Side, in the midst of the Great Depression. His father Joseph was a cab driver, who earned extra income by moonlighting. The elder Cousy had served in the German Army during World War I. Shortly after the war, his first wife died of pneumonia, leaving behind a young daughter. He married Julie Corlet, a secretary and French teacher from Dijon. At the time of the 1930 census, the family was renting an apartment in Astoria, Queens, for $50 per month. The younger Cousy spoke French for the first 5 years of his life, and started to speak English only after entering primary school. He spent his early days playing stickball in a multicultural environment, regularly playing with African Americans, Jews and other ethnic minority children. These experiences ingrained him with a strong anti-racist sentiment, an attitude he prominently promoted during his professional career. When he was 12, his family moved to a rented house in St. Albans, Queens. That summer, the elder Cousy put a $500 down payment for a $4,500 house four blocks away. He rented out the bottom two floors of the three-story building to tenants to help make his mortgage payments on time. Andrew Jackson High School Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. Holy Cross Cousy was one of six freshmen on the Holy Cross Crusaders' varsity basketball team in 1946–47. From the start of the season, coach Doggie Julian chose to play the six freshmen off the bench in a two-team system, so that each player would get some time on the court. As members of the "second team", they would come off the bench nine and a half minutes into the game, where they would relieve the "first team" starters. They would sometimes get to play as much as a third or even half of the game, but even at that Cousy was so disappointed with the lack of playing time that he went to the campus chapel after practice to pray that Julian would give him more of a chance to show off his talents on the court. Early in the season, however, he got into trouble with Julian, who accused him of being a showboater. Even as late as that 1946–47 season basketball was a static game, depending on slow, deliberate player movement and flat-footed shots. Far different was Cousy's up-tempo, streetball-like game, marked by ambidextrous finesse play and notable for behind-the-back dribbling and no-look, behind-the-back and half-court passing. Even so, he had enough playing time in games to score 227 points for the season, finishing with the third-highest total on the team. Led by stars George Kaftan and Joe Mullaney, the Crusaders finished the 1946–47 basketball season 24–3. On the basis of that record, Holy Cross got into the 1947 NCAA Tournament as the last seed in the then only eight-team tournament. In the first game, they defeated Navy 55–47 in front of a sell-out crowd at Madison Square Garden. Mullaney led the team in scoring with 18 points, thanks to Navy coach Ben Carnevale's decision to have his players back off from Mullaney, who was reputed as being more of a playmaker than a shooter. In the semifinal game, the Crusaders faced CCNY, coached by Nat Holman, one of the game's earliest innovators. Led by Kaftan's 30 points, Holy Cross easily defeated the Beavers 60–45. In the championship game, the Crusaders faced Oklahoma, coached by Bruce Drake, in another sold-out game at Madison Square Garden. Kaftan followed up his 30-point semifinal heroics with a mere 18 points in the title game, which was far more than enough for the team to defeat the Sooners 58–47. Cousy played poorly, however, scoring only four points on 2-for-13 shots. Holy Cross became the first New England college to win the NCAA tournament. On their arrival back in Worcester, the team was given a hero's welcome by about 10,000 cheering fans who met their train at Union Station. The following season Julian limited Cousy's playing time, to the point that the frustrated sophomore contemplated transferring out of Holy Cross. Cousy wrote a letter to coach Joe Lapchick of St. John's University in New York, informing him that he was considering a transfer there. Lapchick wrote back to Cousy that he considered Julian "one of the finest basketball coaches in America" and that he believed Julian had no bad intentions in restricting his playing time. He told Cousy that Julian would use him more often during his later years with the team. Lapchick alerted Cousy that transferring was a very risky move: according to NCAA rules, the player would be required to sit out a year before becoming eligible to play for the school to which he transferred. During Cousy's senior year of 1949–1950, his fate changed in a match against Loyola of Chicago at Boston Garden. With 5 minutes left and Holy Cross trailing, the crowd started to chant "We want Cousy!" until coach Julian relented. In these few minutes, Cousy scored 11 points and hit a game-winning buzzer-beater coming off a behind-the-back dribble. The performance established him as a team leader, and he then led Holy Cross to 26 straight wins and a Number 4 national ranking. A three-time All-American, Cousy ended his college career in the 1950 NCAA Tournament, when Holy Cross fell to North Carolina State in an opening-round game at Madison Square Garden. CCNY would go on to win the tournament. Boston Celtics Early years (1950–1956) Cousy turned pro and made himself available for the 1950 NBA draft. The Boston Celtics had just concluded the 1949–50 NBA season with a poor 22–46 win-loss record and had the first draft pick. It was strongly anticipated that they would draft the highly coveted local favorite Cousy. However, coach Red Auerbach snubbed him for center Charlie Share, saying: "Am I supposed to win, or please the local yokels?" The local press strongly criticized Auerbach, but other scouts were also skeptical about Cousy, viewing him as flamboyant but ineffective. One scout wrote in his report: "The first time he tries that fancy Dan stuff in this league, they'll cram the ball down his throat." As a result, the Tri-Cities Blackhawks drafted Cousy, but the point guard was unenthusiastic about his new employer. Cousy was trying to establish a driving school in Worcester, Massachusetts and did not want to relocate to the Midwestern triangle of the three small towns of Moline, Rock Island and Davenport. As compensation for having to give up his driving school, Cousy demanded a salary of $10,000 from Blackhawks owner Ben Kerner. When Kerner offered him only $6,000, Cousy refused to report. Cousy was then picked up by the Chicago Stags, but when they folded, league Commissioner Maurice Podoloff declared three Stags available for a dispersal draft: team scoring leader Max Zaslofsky, Andy Phillip and Cousy. Celtics owner Walter A. Brown was one of the three club bosses invited. He later made it clear that he was hoping for Zaslofsky, would have tolerated Phillip, and did not want Cousy. When the Celtics drew Cousy, Brown confessed: "I could have fallen to the floor." Brown reluctantly gave him a $9,000 salary. It was not long before both Auerbach and Brown changed their minds. With averages of 15.6 points, 6.9 rebounds and 4.9 assists a game, Cousy received the first of his 13 consecutive NBA All-Star selections and led a Celtics team with future Naismith Memorial Basketball Hall of Famers Ed Macauley and Bones McKinney to a 39–30 record in the 1950–51 NBA season. However, in the 1951 NBA Playoffs, the Celtics were beaten by the New York Knicks. With future Hall-of-Fame guard Bill Sharman on board the next season, Cousy averaged 21.7 points, 6.4 rebounds and 6.7 assists per game en route to his first All-NBA First Team nomination. Nonetheless, the Celtics lost to the Knicks in the 1952 NBA Playoffs. In the following season, Cousy made further progress. Averaging 7.7 assists per game, he won the first of his eight consecutive assists titles. These numbers were made despite the fact that the NBA had not yet introduced the shot clock, making the game static and putting prolific assist givers at a disadvantage. Powered by Auerbach's quick fastbreak-dominated tactics, the Celtics won 46 games and beat the Syracuse Nationals 2–0 in the 1953 NBA Playoffs. Game 2 ended 111–105 in a 4-overtime thriller, in which Cousy had a much-lauded game. Despite having an injured leg, he scored 25 points after four quarters, scored 6 of his team's 9 points in the first overtime, hit a clutch free throw in the last seconds, and scored all 4 of Boston's points in the second overtime. He scored 8 more points in the third overtime, among them a 25-ft. buzzer beater. In the fourth overtime, he scored 9 of Boston's 12 points. Cousy played 66 minutes, and scored 50 points after making a still-standing record of 30 free throws in 32 attempts. This game is regarded by the NBA as one of the finest scoring feats ever, in line with Wilt Chamberlain's 100-point game. However, for the third time in a row, the Knicks beat Boston in the next round. In the next three years, Cousy firmly established himself as one of the league's best point guards. Leading the league in assists all 3 seasons, and averaging 20 points and 7 rebounds, the versatile Cousy earned himself three more All-NBA First Team and All-Star honors, and was also Most Valuable Player of the 1954 NBA All-Star Game. In terms of playing style, Cousy introduced an array of visually attractive street basketball moves, described by the NBA as a mix of ambidextrous, behind-the-back dribbling and "no-look passes, behind-the-back feeds or half-court fastbreak launches". Cousy's modus operandi contrasted with the rest of the NBA, which was dominated by muscular low post scorers and deliberate set shooters. Soon, he was called "Houdini of the Hardwood" after the magician Harry Houdini. Cousy's crowd-pleasing and effective play drew the crowd into the Boston Garden and also won over coach Auerbach, who no longer saw him as a liability, but as an essential building block for the future. The Celtics eventually added two talented forwards, future Hall-of-Famer Frank Ramsey and defensive specialist Jim Loscutoff. Along with Celtics colleague Bob Brannum, Loscutoff also became Cousy's unofficial bodyguard, retaliating against opposing players who would try to hurt him. The Celtics were unable to make their mark in the 1954 NBA Playoffs, 1955 NBA Playoffs, and 1956 NBA Playoffs, where they lost three times in a row against the Nationals. Cousy attributed the shortcomings to fatigue, stating: "We would get tired in the end and could not get the ball". As a result, Auerbach sought a defensive center who could get easy rebounds, initiate fast breaks and close out games. Dynasty years (1957–1963) Before the 1956–57 NBA season, Auerbach drafted two future Hall-of-Famers: forward Tom Heinsohn, and defensive center Bill Russell. Powered by these new players, the Celtics went 44–28 in the regular season, and Cousy averaged 20.6 points, 4.8 rebounds and a league-leading 7.5 assists, earning his first NBA Most Valuable Player Award; he also won his second NBA All-Star Game MVP award. The Celtics reached the 1957 NBA Finals, and powered by Cousy on offense and rugged center Russell on defense, they beat the Hawks 4–3, who were noted for future Hall-of-Fame power forward Bob Pettit and former teammates Macauley and Hagan. Cousy finally won his first title. In the 1957–58 NBA season, Cousy had yet another highly productive year, with his 20.0 points, 5.5 rebounds and 8.6 assists per game leading to nominations into the All-NBA First Team and the All-Star team. He again led the NBA in assists. The Celtics reached the 1958 NBA Finals against the Hawks, but when Russell succumbed to a foot injury in Game 3, the Celtics faded and bowed out four games to two. This was the last losing NBA playoff series in which Cousy would play. In the following 1958–59 NBA season, the Celtics got revenge on their opposition, powered by an inspired Cousy, who averaged 20.0 points, 5.5 rebounds and a league-high 8.6 assists a game, won another assists title and another pair of All-NBA First Team and All-Star team nominations. Late in the season, Cousy reasserted his playmaking dominance by setting an NBA record with 28 assists in a game against the Minneapolis Lakers. While that record was broken 19 years later, Cousy also set a record for 19 assists in a half which has never been broken. The Celtics stormed through the playoffs and, behind Cousy's 51 total assists (still a record for a four-game NBA Finals series), defeated the Minneapolis Lakers in the first 4–0 sweep ever in the 1959 NBA Finals. In the 1959–60 NBA season, Cousy was again productive, his 19.4 points, 4.7 rebounds and 9.5 assists per game earning him his eighth consecutive assists title and another joint All-NBA First Team and All-Star team nomination. Again, the Celtics defeated all opposition and won the 1960 NBA Finals 4–3 against the Hawks. A year later, the 32-year-old Cousy scored 18.1 points, 4.4 rebounds and 7.7 assists per game, winning another pair of All-NBA First Team and All-Star nominations, but failing to win the assists crown after eight consecutive seasons. However, the Celtics won the 1961 NBA Finals after convincingly beating the Hawks 4–1. In the 1961–62 NBA season, the aging Cousy slowly began to fade statistically, averaging 15.7 points, 3.5 rebounds and 7.8 assists, and was voted into the All-NBA Second Team after ten consecutive First Team nominations. Still, he enjoyed a satisfying postseason, winning the 1962 NBA Finals after 4–3 battles against two upcoming teams, the Philadelphia Warriors and Los Angeles Lakers. The Finals series against the Lakers was especially dramatic, because Lakers guard Frank Selvy failed to make a last-second buzzer beater in Game 7 which would have won the title. Finally, in the 1962–63 NBA season, the last of his career, Cousy averaged 13.2 points, 2.5 rebounds and 6.8 assists, and collected one last All-Star and All-NBA Second Team nomination. In the 1963 NBA Finals, the Celtics again won 4–2 against the Lakers, and Cousy finished his career on a high note: in the fourth quarter of Game 6, Cousy sprained an ankle and had to be helped to the bench. He went back in with Boston up 1. Although he did not score again, he was credited with providing an emotional lift that carried the Celtics to victory, 112–109. The game ended with Cousy throwing the ball into the rafters. Retirement At age 34, Cousy held his retirement ceremony on March 17, 1963, in a packed Boston Garden. The event became known as the Boston Tear Party, when the crowd's response overwhelmed Cousy, left him speechless, and caused his planned 7-minute farewell to go on for 20. Joe Dillon, a water worker from South Boston, Massachusetts, and a devoted Celtics fan, screamed "We love ya, Cooz", breaking the tension and the crowd went into cheers. As a testament to Cousy's legacy, President John F. Kennedy wired to Cousy: "The game bears an indelible stamp of your rare skills and competitive daring." NBA career statistics Regular season Playoffs Post-playing career After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91–86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 114 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals. Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973–74 NBA season with a 141–209 record. Despite his unfamiliarity with the sport, Cousy was appointed Commissioner of the American Soccer League on December 19, 1974. His most notable act as commissioner was to declare the New York Apollo and Boston Astros co‐champions after both teams played 67 minutes of extra time without resolution in the second and deciding leg of the league's championship series on September 20, 1975. He was relieved of his duties on December 1, 1979. Pennsylvania Stoners club owner Willie Ehrlich explained the dismissal by stating, "After five years as commissioner, Cousy still goes around telling people he knows nothing about soccer." He was a color analyst on Celtics telecasts during the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman (and with ex-Celtic teammate Tom Heinsohn prior to Heinsohn's death on November 9, 2020). Coaching record College coaching record NBA coaching record \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|5th in Eastern\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|33\|\|49\|\|.402\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|30\|\|52\|\|.366\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|4th in Midwest\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|20\|\|6\|\|14\|\|.300\|\| align="center" \|(resigned)\|\|—\|\|—\|\|—\|\|— \| align="center" \|— \|-class="sortbottom" \| align="left" \|Career \| \|\|348\|\|141\|\|207\|\|.405\|\| \|\|—\|\|—\|\|—\|\|— \| align="center" \|— Legacy NBA Players Union In 1954, the NBA had no health benefits, pension plan, minimum salary, and the average player's salary was $8,000 ($82,000 in 2021 dollars) a season. To combat this, Cousy organized the National Basketball Players Association, the first trade union among those in the four major North American professional sports leagues. Cousy served as its first president until 1958. In his 13-year, 924-game NBA playing career, Cousy finished with 16,960 points, 4,786 rebounds and 6,955 assists, translating to averages of 18.4 points, 5.2 rebounds and 7.5 assists per game. He was regarded as the first great point guard of the NBA, winning eight of the first 11 assist titles in the league, all of them en bloc, and had a highly successful career, winning six NBA titles, one MVP award, 13 All-Star and 12 All-NBA First and Second Team call-ups and two All-Star MVP awards. With his eye-catching dribbling and unorthodox passing, Cousy popularized modern guard play and raised the profile of the Boston Celtics and the entire NBA. His fast-paced playing style was later emulated by the likes of Pete Maravich and Magic Johnson. In recognition of his feats, Cousy was inducted into the Naismith Memorial Basketball Hall of Fame in 1971 and honored by the Celtics, who retired his uniform number, 14. Celtics owner Walter Brown said: "The Celtics wouldn't be here without him [Cousy]. He made basketball in this town. If he had played in New York he would have been the biggest thing since [New York Yankees baseball legend] Babe Ruth. I think he is anyway." In addition, on May 11, 2006, ESPN.com rated Cousy as the fifth-greatest point guard of all time, lauding him as "ahead of his time with his ballhandling and passing skills" and pointing out he is one of only seven point guards ever to win an NBA Most Valuable Player award. On November 16, 2008, Cousy's college uniform number, 17, was hoisted to the Hart Center rafters. During halftime of a game between the Holy Cross Crusaders and St. Joseph's Hawks, the uniform numbers of Cousy, George Kaftan, Togo Palazzi, and Tommy Heinsohn became the first to hang from the gymnasium's ceiling. On July 1, 2019, Cousy advised The Boston Globe that he had received an official letter notifying him that he would receive the Presidential Medal of Freedom from President Donald Trump on August 22, 2019. He received the medal at a ceremony in the Oval Office. A statue of Cousy was installed outside the DCU Center in Worcester, Massachusetts, in 2021. Personal life Cousy married his college sweetheart, Missie Ritterbusch, in December 1950, six months after he graduated from Holy Cross. They lived in Worcester, Massachusetts, and had two daughters. His wife died on September 20, 2013, after suffering from dementia for several years. Cousy was well-known, both on and off the court, for his public stance against racism, a result of his upbringing in a multicultural environment. In 1950, the Celtics played a game in the then-segregated city of Charlotte, North Carolina, and teammate Chuck Cooper—the first African-American in NBA history to be drafted—would have been denied a hotel room. Instead of taking the hotel room, Cousy insisted on travelling with Cooper on an uncomfortable overnight train. He described their visit to a segregated men's toilet—Cooper was prohibited from using the clean "for whites" bathroom and had to use the shabby "for colored" facility—as one of the most shameful experiences of his life. He also sympathized with the plight of black Celtics star Bill Russell, who was frequently a victim of racism. Cousy was close to his Celtics mentor, head coach Red Auerbach, and was one of the few permitted to call him "Arnold", his given name, instead of his nickname "Red". See also List of athletes who came out of retirement List of National Basketball Association career assists leaders List of National Basketball Association career free throw scoring leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association players with most assists in a game List of National Basketball Association single-game playoff scoring leaders References External links Bob Cousy on nba.com 1928 births Living people All-American college men's basketball players American men's basketball players American people of French descent American sports announcers Andrew Jackson High School (Queens) alumni Basketball coaches from New York (state) Basketball players at the 1947 NCAA Final Four Basketball players at the 1948 NCAA Final Four Basketball players from New York City Basketball players from Worcester, Massachusetts Boston Celtics announcers Boston Celtics players Boston College Eagles men's basketball coaches Cincinnati Royals head coaches Cincinnati Royals players College men's basketball head coaches in the United States Holy Cross Crusaders men's basketball players Kansas City-Omaha Kings head coaches Kansas City Kings head coaches Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association broadcasters National Basketball Association players with retired numbers National Basketball Players Association presidents People from St. Albans, Queens People from Yorkville, Manhattan Player-coaches Point guards Presidential Medal of Freedom recipients Sportspeople from Manhattan Tri-Cities Blackhawks draft picks	true	[ "This page tracks the progress of the Lithuanian national basketball team participating in the 2014 FIBA Basketball World Cup.\n\nMain roster \nOn May 13, head coach Jonas Kazlauskas announced both the extended 24–player main roster and the reserve roster for the national team. On July 1, he announced the condensed candidate roster consisting of 17 players. On August 11, he narrowed the list down to 14 players.\n\nCandidates that did not make it to the final team \n\n* – Juškevičius was recalled to the national team after Kalnietis' injury vs. Croatia.\n\nDepth chart\n\nPreparation matches\n\nPreliminary round\n\nKnockout stage\n\nQuarterfinals\n\nSemifinals\n\nThird place playoff\n\nReserve roster \nThe main goal of the reserve roster is to prepare the team for participation in the 2015 Summer Universiade held in South Korea. Some candidates are listed in both the main roster and the reserve roster.\n\n\|}\n\| valign=\"top\" \|\nHead coach\n \nAssistant coach(es)\n\nLegend\n Club – describes lastclub before the tournament\n Age – describes age August 30, 2014\n\|}\n\nCandidates that did not make it to the final team\n\nFriendly matches\n\nPromoted to the Main roster\n\nReferences \n\n \n2014\nWorld", "Mark Faumuina (born 2 October 1971) is a former Western Samoa international rugby league footballer.\n\nPlaying career\nAn Otahuhu Leopards junior, Faumuina represented Auckland, playing for the Under 17's in 1987 and the under 18's in 1991.\n\nIn 1993 Faumuina played for the Probables side in the New Zealand national rugby league team trial match. He did not however make the national side.\n\nIn 1994 he played for the Auckland City Vulcans in the new Lion Red Cup. He was then picked to be part of the Western Samoan side as it conducted a tour of New Zealand. He then played in the 1994 Pacific Cup.\n\nIn 1995 Faumuina played for the Counties Manukau Heroes. He was picked to play for the Lion Red XIII against a Tongan Residents side and also represented Auckland in its Rugby League Cup challenge.\n\nFaumuina played against the touring Great Britain side in 1996, again representing the New Zealand Residents. He then signed a contract with the Penrith Panthers but did not make the first grade side.\n\nFaumuina later played in France before retiring. In 2003 he played for a French Selection against a touring New Zealand Māori side.\n\nReferences\n\nLiving people\nNew Zealand rugby league players\nSamoa national rugby league team players\nAuckland rugby league team players\nCounties Manukau rugby league team players\n1971 births\nOtahuhu Leopards players\nVillefranche XIII Aveyron coaches\nVillefranche XIII Aveyron players\nRugby league props\nRugby league second-rows" ]
[ "Bob Cousy", "Andrew Jackson High SchoolEdit", "What did he do in high school?", "His basketball success was not immediate, and in fact he was cut from the school team in his first year.", "Did he play his second year?", "The next year, however, he was again cut during the tryouts for the school basketball team.", "When did he play in high school?", "During a Press League game, the high school basketball coach saw him play.", "What did the coach do after seeing him play?", "invited Cousy to come to practice the following day to try out for the junior varsity team.", "Did he make the team?", "but failing his citizenship course made him ineligible for the first semester." ]	C_c1f5802ee0c6469f8ce371c39ac805b0_1	When did he start to play basketball in high school?	6	When did Bob Cousy start to play basketball in high school?	Bob Cousy	Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. CANNOTANSWER	He joined the varsity squad midway through the season, however, scoring 28 points in his first game.	Robert Joseph Cousy (, born August 9, 1928) is an American former professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963, and briefly with the Cincinnati Royals in the 1969–70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament, and won NCAA All-American honors for three seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston. He had an exceptionally successful career with the Celtics, leading the league an unprecedented 8 straight years in assists, playing on six NBA championship teams, and being voted into 13 NBA All-Star Games in his 13 full NBA seasons. He was also named to 12 All-NBA First and Second Teams and won the 1957 NBA Most Valuable Player Award. En route to his assist streak that was unmatched either in number of crowns or consecutive years, Cousy introduced a new blend of ball-handling and passing skills to the NBA that earned him the nickname "The Houdini of the Hardwood". Also known as "Cooz", he was regularly introduced at Boston Garden as "Mr. Basketball". After his playing career, he coached the Royals for several years, capped by a seven-game cameo comeback for them at age 41. Cousy then became a broadcaster for Celtics games. Upon his election to the Naismith Memorial Basketball Hall of Fame in 1971 the Celtics retired his No. 14 jersey and hung it in the rafters of the Garden. Cousy was named to the NBA 25th Anniversary Team in 1971, the NBA 35th Anniversary Team in 1981, and the NBA's 50th Anniversary All-Time Team in 1996, making him one of only four players that were selected to each of those teams. He was also the first president of National Basketball Players Association. On August 22, 2019, he was awarded the Presidential Medal of Freedom by Donald Trump. In October 2021, Cousy was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Early years Cousy was the only son of poor French immigrants living in New York City. He grew up in the Yorkville neighborhood of Manhattan's East Side, in the midst of the Great Depression. His father Joseph was a cab driver, who earned extra income by moonlighting. The elder Cousy had served in the German Army during World War I. Shortly after the war, his first wife died of pneumonia, leaving behind a young daughter. He married Julie Corlet, a secretary and French teacher from Dijon. At the time of the 1930 census, the family was renting an apartment in Astoria, Queens, for $50 per month. The younger Cousy spoke French for the first 5 years of his life, and started to speak English only after entering primary school. He spent his early days playing stickball in a multicultural environment, regularly playing with African Americans, Jews and other ethnic minority children. These experiences ingrained him with a strong anti-racist sentiment, an attitude he prominently promoted during his professional career. When he was 12, his family moved to a rented house in St. Albans, Queens. That summer, the elder Cousy put a $500 down payment for a $4,500 house four blocks away. He rented out the bottom two floors of the three-story building to tenants to help make his mortgage payments on time. Andrew Jackson High School Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. Holy Cross Cousy was one of six freshmen on the Holy Cross Crusaders' varsity basketball team in 1946–47. From the start of the season, coach Doggie Julian chose to play the six freshmen off the bench in a two-team system, so that each player would get some time on the court. As members of the "second team", they would come off the bench nine and a half minutes into the game, where they would relieve the "first team" starters. They would sometimes get to play as much as a third or even half of the game, but even at that Cousy was so disappointed with the lack of playing time that he went to the campus chapel after practice to pray that Julian would give him more of a chance to show off his talents on the court. Early in the season, however, he got into trouble with Julian, who accused him of being a showboater. Even as late as that 1946–47 season basketball was a static game, depending on slow, deliberate player movement and flat-footed shots. Far different was Cousy's up-tempo, streetball-like game, marked by ambidextrous finesse play and notable for behind-the-back dribbling and no-look, behind-the-back and half-court passing. Even so, he had enough playing time in games to score 227 points for the season, finishing with the third-highest total on the team. Led by stars George Kaftan and Joe Mullaney, the Crusaders finished the 1946–47 basketball season 24–3. On the basis of that record, Holy Cross got into the 1947 NCAA Tournament as the last seed in the then only eight-team tournament. In the first game, they defeated Navy 55–47 in front of a sell-out crowd at Madison Square Garden. Mullaney led the team in scoring with 18 points, thanks to Navy coach Ben Carnevale's decision to have his players back off from Mullaney, who was reputed as being more of a playmaker than a shooter. In the semifinal game, the Crusaders faced CCNY, coached by Nat Holman, one of the game's earliest innovators. Led by Kaftan's 30 points, Holy Cross easily defeated the Beavers 60–45. In the championship game, the Crusaders faced Oklahoma, coached by Bruce Drake, in another sold-out game at Madison Square Garden. Kaftan followed up his 30-point semifinal heroics with a mere 18 points in the title game, which was far more than enough for the team to defeat the Sooners 58–47. Cousy played poorly, however, scoring only four points on 2-for-13 shots. Holy Cross became the first New England college to win the NCAA tournament. On their arrival back in Worcester, the team was given a hero's welcome by about 10,000 cheering fans who met their train at Union Station. The following season Julian limited Cousy's playing time, to the point that the frustrated sophomore contemplated transferring out of Holy Cross. Cousy wrote a letter to coach Joe Lapchick of St. John's University in New York, informing him that he was considering a transfer there. Lapchick wrote back to Cousy that he considered Julian "one of the finest basketball coaches in America" and that he believed Julian had no bad intentions in restricting his playing time. He told Cousy that Julian would use him more often during his later years with the team. Lapchick alerted Cousy that transferring was a very risky move: according to NCAA rules, the player would be required to sit out a year before becoming eligible to play for the school to which he transferred. During Cousy's senior year of 1949–1950, his fate changed in a match against Loyola of Chicago at Boston Garden. With 5 minutes left and Holy Cross trailing, the crowd started to chant "We want Cousy!" until coach Julian relented. In these few minutes, Cousy scored 11 points and hit a game-winning buzzer-beater coming off a behind-the-back dribble. The performance established him as a team leader, and he then led Holy Cross to 26 straight wins and a Number 4 national ranking. A three-time All-American, Cousy ended his college career in the 1950 NCAA Tournament, when Holy Cross fell to North Carolina State in an opening-round game at Madison Square Garden. CCNY would go on to win the tournament. Boston Celtics Early years (1950–1956) Cousy turned pro and made himself available for the 1950 NBA draft. The Boston Celtics had just concluded the 1949–50 NBA season with a poor 22–46 win-loss record and had the first draft pick. It was strongly anticipated that they would draft the highly coveted local favorite Cousy. However, coach Red Auerbach snubbed him for center Charlie Share, saying: "Am I supposed to win, or please the local yokels?" The local press strongly criticized Auerbach, but other scouts were also skeptical about Cousy, viewing him as flamboyant but ineffective. One scout wrote in his report: "The first time he tries that fancy Dan stuff in this league, they'll cram the ball down his throat." As a result, the Tri-Cities Blackhawks drafted Cousy, but the point guard was unenthusiastic about his new employer. Cousy was trying to establish a driving school in Worcester, Massachusetts and did not want to relocate to the Midwestern triangle of the three small towns of Moline, Rock Island and Davenport. As compensation for having to give up his driving school, Cousy demanded a salary of $10,000 from Blackhawks owner Ben Kerner. When Kerner offered him only $6,000, Cousy refused to report. Cousy was then picked up by the Chicago Stags, but when they folded, league Commissioner Maurice Podoloff declared three Stags available for a dispersal draft: team scoring leader Max Zaslofsky, Andy Phillip and Cousy. Celtics owner Walter A. Brown was one of the three club bosses invited. He later made it clear that he was hoping for Zaslofsky, would have tolerated Phillip, and did not want Cousy. When the Celtics drew Cousy, Brown confessed: "I could have fallen to the floor." Brown reluctantly gave him a $9,000 salary. It was not long before both Auerbach and Brown changed their minds. With averages of 15.6 points, 6.9 rebounds and 4.9 assists a game, Cousy received the first of his 13 consecutive NBA All-Star selections and led a Celtics team with future Naismith Memorial Basketball Hall of Famers Ed Macauley and Bones McKinney to a 39–30 record in the 1950–51 NBA season. However, in the 1951 NBA Playoffs, the Celtics were beaten by the New York Knicks. With future Hall-of-Fame guard Bill Sharman on board the next season, Cousy averaged 21.7 points, 6.4 rebounds and 6.7 assists per game en route to his first All-NBA First Team nomination. Nonetheless, the Celtics lost to the Knicks in the 1952 NBA Playoffs. In the following season, Cousy made further progress. Averaging 7.7 assists per game, he won the first of his eight consecutive assists titles. These numbers were made despite the fact that the NBA had not yet introduced the shot clock, making the game static and putting prolific assist givers at a disadvantage. Powered by Auerbach's quick fastbreak-dominated tactics, the Celtics won 46 games and beat the Syracuse Nationals 2–0 in the 1953 NBA Playoffs. Game 2 ended 111–105 in a 4-overtime thriller, in which Cousy had a much-lauded game. Despite having an injured leg, he scored 25 points after four quarters, scored 6 of his team's 9 points in the first overtime, hit a clutch free throw in the last seconds, and scored all 4 of Boston's points in the second overtime. He scored 8 more points in the third overtime, among them a 25-ft. buzzer beater. In the fourth overtime, he scored 9 of Boston's 12 points. Cousy played 66 minutes, and scored 50 points after making a still-standing record of 30 free throws in 32 attempts. This game is regarded by the NBA as one of the finest scoring feats ever, in line with Wilt Chamberlain's 100-point game. However, for the third time in a row, the Knicks beat Boston in the next round. In the next three years, Cousy firmly established himself as one of the league's best point guards. Leading the league in assists all 3 seasons, and averaging 20 points and 7 rebounds, the versatile Cousy earned himself three more All-NBA First Team and All-Star honors, and was also Most Valuable Player of the 1954 NBA All-Star Game. In terms of playing style, Cousy introduced an array of visually attractive street basketball moves, described by the NBA as a mix of ambidextrous, behind-the-back dribbling and "no-look passes, behind-the-back feeds or half-court fastbreak launches". Cousy's modus operandi contrasted with the rest of the NBA, which was dominated by muscular low post scorers and deliberate set shooters. Soon, he was called "Houdini of the Hardwood" after the magician Harry Houdini. Cousy's crowd-pleasing and effective play drew the crowd into the Boston Garden and also won over coach Auerbach, who no longer saw him as a liability, but as an essential building block for the future. The Celtics eventually added two talented forwards, future Hall-of-Famer Frank Ramsey and defensive specialist Jim Loscutoff. Along with Celtics colleague Bob Brannum, Loscutoff also became Cousy's unofficial bodyguard, retaliating against opposing players who would try to hurt him. The Celtics were unable to make their mark in the 1954 NBA Playoffs, 1955 NBA Playoffs, and 1956 NBA Playoffs, where they lost three times in a row against the Nationals. Cousy attributed the shortcomings to fatigue, stating: "We would get tired in the end and could not get the ball". As a result, Auerbach sought a defensive center who could get easy rebounds, initiate fast breaks and close out games. Dynasty years (1957–1963) Before the 1956–57 NBA season, Auerbach drafted two future Hall-of-Famers: forward Tom Heinsohn, and defensive center Bill Russell. Powered by these new players, the Celtics went 44–28 in the regular season, and Cousy averaged 20.6 points, 4.8 rebounds and a league-leading 7.5 assists, earning his first NBA Most Valuable Player Award; he also won his second NBA All-Star Game MVP award. The Celtics reached the 1957 NBA Finals, and powered by Cousy on offense and rugged center Russell on defense, they beat the Hawks 4–3, who were noted for future Hall-of-Fame power forward Bob Pettit and former teammates Macauley and Hagan. Cousy finally won his first title. In the 1957–58 NBA season, Cousy had yet another highly productive year, with his 20.0 points, 5.5 rebounds and 8.6 assists per game leading to nominations into the All-NBA First Team and the All-Star team. He again led the NBA in assists. The Celtics reached the 1958 NBA Finals against the Hawks, but when Russell succumbed to a foot injury in Game 3, the Celtics faded and bowed out four games to two. This was the last losing NBA playoff series in which Cousy would play. In the following 1958–59 NBA season, the Celtics got revenge on their opposition, powered by an inspired Cousy, who averaged 20.0 points, 5.5 rebounds and a league-high 8.6 assists a game, won another assists title and another pair of All-NBA First Team and All-Star team nominations. Late in the season, Cousy reasserted his playmaking dominance by setting an NBA record with 28 assists in a game against the Minneapolis Lakers. While that record was broken 19 years later, Cousy also set a record for 19 assists in a half which has never been broken. The Celtics stormed through the playoffs and, behind Cousy's 51 total assists (still a record for a four-game NBA Finals series), defeated the Minneapolis Lakers in the first 4–0 sweep ever in the 1959 NBA Finals. In the 1959–60 NBA season, Cousy was again productive, his 19.4 points, 4.7 rebounds and 9.5 assists per game earning him his eighth consecutive assists title and another joint All-NBA First Team and All-Star team nomination. Again, the Celtics defeated all opposition and won the 1960 NBA Finals 4–3 against the Hawks. A year later, the 32-year-old Cousy scored 18.1 points, 4.4 rebounds and 7.7 assists per game, winning another pair of All-NBA First Team and All-Star nominations, but failing to win the assists crown after eight consecutive seasons. However, the Celtics won the 1961 NBA Finals after convincingly beating the Hawks 4–1. In the 1961–62 NBA season, the aging Cousy slowly began to fade statistically, averaging 15.7 points, 3.5 rebounds and 7.8 assists, and was voted into the All-NBA Second Team after ten consecutive First Team nominations. Still, he enjoyed a satisfying postseason, winning the 1962 NBA Finals after 4–3 battles against two upcoming teams, the Philadelphia Warriors and Los Angeles Lakers. The Finals series against the Lakers was especially dramatic, because Lakers guard Frank Selvy failed to make a last-second buzzer beater in Game 7 which would have won the title. Finally, in the 1962–63 NBA season, the last of his career, Cousy averaged 13.2 points, 2.5 rebounds and 6.8 assists, and collected one last All-Star and All-NBA Second Team nomination. In the 1963 NBA Finals, the Celtics again won 4–2 against the Lakers, and Cousy finished his career on a high note: in the fourth quarter of Game 6, Cousy sprained an ankle and had to be helped to the bench. He went back in with Boston up 1. Although he did not score again, he was credited with providing an emotional lift that carried the Celtics to victory, 112–109. The game ended with Cousy throwing the ball into the rafters. Retirement At age 34, Cousy held his retirement ceremony on March 17, 1963, in a packed Boston Garden. The event became known as the Boston Tear Party, when the crowd's response overwhelmed Cousy, left him speechless, and caused his planned 7-minute farewell to go on for 20. Joe Dillon, a water worker from South Boston, Massachusetts, and a devoted Celtics fan, screamed "We love ya, Cooz", breaking the tension and the crowd went into cheers. As a testament to Cousy's legacy, President John F. Kennedy wired to Cousy: "The game bears an indelible stamp of your rare skills and competitive daring." NBA career statistics Regular season Playoffs Post-playing career After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91–86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 114 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals. Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973–74 NBA season with a 141–209 record. Despite his unfamiliarity with the sport, Cousy was appointed Commissioner of the American Soccer League on December 19, 1974. His most notable act as commissioner was to declare the New York Apollo and Boston Astros co‐champions after both teams played 67 minutes of extra time without resolution in the second and deciding leg of the league's championship series on September 20, 1975. He was relieved of his duties on December 1, 1979. Pennsylvania Stoners club owner Willie Ehrlich explained the dismissal by stating, "After five years as commissioner, Cousy still goes around telling people he knows nothing about soccer." He was a color analyst on Celtics telecasts during the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman (and with ex-Celtic teammate Tom Heinsohn prior to Heinsohn's death on November 9, 2020). Coaching record College coaching record NBA coaching record \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|5th in Eastern\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|33\|\|49\|\|.402\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|30\|\|52\|\|.366\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|4th in Midwest\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|20\|\|6\|\|14\|\|.300\|\| align="center" \|(resigned)\|\|—\|\|—\|\|—\|\|— \| align="center" \|— \|-class="sortbottom" \| align="left" \|Career \| \|\|348\|\|141\|\|207\|\|.405\|\| \|\|—\|\|—\|\|—\|\|— \| align="center" \|— Legacy NBA Players Union In 1954, the NBA had no health benefits, pension plan, minimum salary, and the average player's salary was $8,000 ($82,000 in 2021 dollars) a season. To combat this, Cousy organized the National Basketball Players Association, the first trade union among those in the four major North American professional sports leagues. Cousy served as its first president until 1958. In his 13-year, 924-game NBA playing career, Cousy finished with 16,960 points, 4,786 rebounds and 6,955 assists, translating to averages of 18.4 points, 5.2 rebounds and 7.5 assists per game. He was regarded as the first great point guard of the NBA, winning eight of the first 11 assist titles in the league, all of them en bloc, and had a highly successful career, winning six NBA titles, one MVP award, 13 All-Star and 12 All-NBA First and Second Team call-ups and two All-Star MVP awards. With his eye-catching dribbling and unorthodox passing, Cousy popularized modern guard play and raised the profile of the Boston Celtics and the entire NBA. His fast-paced playing style was later emulated by the likes of Pete Maravich and Magic Johnson. In recognition of his feats, Cousy was inducted into the Naismith Memorial Basketball Hall of Fame in 1971 and honored by the Celtics, who retired his uniform number, 14. Celtics owner Walter Brown said: "The Celtics wouldn't be here without him [Cousy]. He made basketball in this town. If he had played in New York he would have been the biggest thing since [New York Yankees baseball legend] Babe Ruth. I think he is anyway." In addition, on May 11, 2006, ESPN.com rated Cousy as the fifth-greatest point guard of all time, lauding him as "ahead of his time with his ballhandling and passing skills" and pointing out he is one of only seven point guards ever to win an NBA Most Valuable Player award. On November 16, 2008, Cousy's college uniform number, 17, was hoisted to the Hart Center rafters. During halftime of a game between the Holy Cross Crusaders and St. Joseph's Hawks, the uniform numbers of Cousy, George Kaftan, Togo Palazzi, and Tommy Heinsohn became the first to hang from the gymnasium's ceiling. On July 1, 2019, Cousy advised The Boston Globe that he had received an official letter notifying him that he would receive the Presidential Medal of Freedom from President Donald Trump on August 22, 2019. He received the medal at a ceremony in the Oval Office. A statue of Cousy was installed outside the DCU Center in Worcester, Massachusetts, in 2021. Personal life Cousy married his college sweetheart, Missie Ritterbusch, in December 1950, six months after he graduated from Holy Cross. They lived in Worcester, Massachusetts, and had two daughters. His wife died on September 20, 2013, after suffering from dementia for several years. Cousy was well-known, both on and off the court, for his public stance against racism, a result of his upbringing in a multicultural environment. In 1950, the Celtics played a game in the then-segregated city of Charlotte, North Carolina, and teammate Chuck Cooper—the first African-American in NBA history to be drafted—would have been denied a hotel room. Instead of taking the hotel room, Cousy insisted on travelling with Cooper on an uncomfortable overnight train. He described their visit to a segregated men's toilet—Cooper was prohibited from using the clean "for whites" bathroom and had to use the shabby "for colored" facility—as one of the most shameful experiences of his life. He also sympathized with the plight of black Celtics star Bill Russell, who was frequently a victim of racism. Cousy was close to his Celtics mentor, head coach Red Auerbach, and was one of the few permitted to call him "Arnold", his given name, instead of his nickname "Red". See also List of athletes who came out of retirement List of National Basketball Association career assists leaders List of National Basketball Association career free throw scoring leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association players with most assists in a game List of National Basketball Association single-game playoff scoring leaders References External links Bob Cousy on nba.com 1928 births Living people All-American college men's basketball players American men's basketball players American people of French descent American sports announcers Andrew Jackson High School (Queens) alumni Basketball coaches from New York (state) Basketball players at the 1947 NCAA Final Four Basketball players at the 1948 NCAA Final Four Basketball players from New York City Basketball players from Worcester, Massachusetts Boston Celtics announcers Boston Celtics players Boston College Eagles men's basketball coaches Cincinnati Royals head coaches Cincinnati Royals players College men's basketball head coaches in the United States Holy Cross Crusaders men's basketball players Kansas City-Omaha Kings head coaches Kansas City Kings head coaches Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association broadcasters National Basketball Association players with retired numbers National Basketball Players Association presidents People from St. Albans, Queens People from Yorkville, Manhattan Player-coaches Point guards Presidential Medal of Freedom recipients Sportspeople from Manhattan Tri-Cities Blackhawks draft picks	true	[ "Wilbur R. Trosch (August 2, 1938 – May 5, 2014) was an American basketball player and coach. He excelled in both academics and athletics at Clairton High School in his hometown of Clairton, Pennsylvania, and earned a scholarship to play college basketball for the Saint Francis Red Flash. Trosch led the Red Flash in scoring for all three seasons he played and was named team captain during his senior season. Although his height led to his nickname \"Tree\", Trosch did not play as a traditional big man and instead preferred long-range shooting as he remarked that he had \"a guard's mentality\". He ranks 12th in points and sixth in rebounds amongst Red Flash players. \n\nTrosch was selected by the Syracuse Nationals as the 13th overall pick in the 1960 NBA draft but he never played in the National Basketball Association (NBA) as he wanted to start a family. He played with the New York Tuck Tapers in the National Industrial Basketball League (NIBL) during the 1960–61 season and tried out for the Pittsburgh Rens of the American Basketball League (ABL) prior to the 1961–62 season.\n\nAfter his retirement from playing basketball, Trosch worked as a teacher at West Mifflin North High School. He taught social studies and history while he coached the basketball team. Trosch retired from teaching in 1998.\n\nTrosch died of a heart attack in Fishers, Indiana, after he fell ill on a golf course in Indianapolis.\n\nReferences\n\n1938 births\n2014 deaths\nAmerican men's basketball coaches\nAmerican men's basketball players\nBasketball coaches from Pennsylvania\nBasketball players from Pennsylvania\nForwards (basketball)\nHigh school basketball coaches in the United States\nPeople from Clairton, Pennsylvania\nSaint Francis Red Flash men's basketball players\nSyracuse Nationals draft picks", "Antone Warren is a center, who played at the Antelope Valley College men's basketball team and who participated in the 2017 NBA draft.\n\nCareer\n\nCollege \nA graduate of Fern Creek High School in Louisville, Kentucky, Warren spent his freshman year at Kankakee Community College in Kankakee, Illinois. After a year at Volunteer State Community College in Gallatin, Tennessee, where he did not play varsity basketball due to suspension, Warren moved on to Antelope Valley College in Lancaster, California. As a sophomore in 2016–17, he saw action in 33 games with 28 starts, averaging 11.4 points, 7.4 rebounds in 17.2 minutes per contest. He was the number 1 ranked center in the 2017 junior college class and in March 2017 opted to forgo his remaining college eligibility to start his professional career and to submit his name to the 2017 NBA draft. He was not picked by any team though.\n\nReferences\n\nLiving people\nAntelope Valley Marauders men's basketball players\nBasketball players from Chicago\nCenters (basketball)\nKagoshima Rebnise players\nSaitama Broncos players\nAmerican men's basketball players\n1993 births" ]
[ "Bob Cousy", "Andrew Jackson High SchoolEdit", "What did he do in high school?", "His basketball success was not immediate, and in fact he was cut from the school team in his first year.", "Did he play his second year?", "The next year, however, he was again cut during the tryouts for the school basketball team.", "When did he play in high school?", "During a Press League game, the high school basketball coach saw him play.", "What did the coach do after seeing him play?", "invited Cousy to come to practice the following day to try out for the junior varsity team.", "Did he make the team?", "but failing his citizenship course made him ineligible for the first semester.", "When did he start to play basketball in high school?", "He joined the varsity squad midway through the season, however, scoring 28 points in his first game." ]	C_c1f5802ee0c6469f8ce371c39ac805b0_1	Did he set any records?	7	Did Bob Cousy set any records in baskball during high school?	Bob Cousy	Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. CANNOTANSWER	amassing more points than any other New York City high school basketball player.	Robert Joseph Cousy (, born August 9, 1928) is an American former professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963, and briefly with the Cincinnati Royals in the 1969–70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament, and won NCAA All-American honors for three seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston. He had an exceptionally successful career with the Celtics, leading the league an unprecedented 8 straight years in assists, playing on six NBA championship teams, and being voted into 13 NBA All-Star Games in his 13 full NBA seasons. He was also named to 12 All-NBA First and Second Teams and won the 1957 NBA Most Valuable Player Award. En route to his assist streak that was unmatched either in number of crowns or consecutive years, Cousy introduced a new blend of ball-handling and passing skills to the NBA that earned him the nickname "The Houdini of the Hardwood". Also known as "Cooz", he was regularly introduced at Boston Garden as "Mr. Basketball". After his playing career, he coached the Royals for several years, capped by a seven-game cameo comeback for them at age 41. Cousy then became a broadcaster for Celtics games. Upon his election to the Naismith Memorial Basketball Hall of Fame in 1971 the Celtics retired his No. 14 jersey and hung it in the rafters of the Garden. Cousy was named to the NBA 25th Anniversary Team in 1971, the NBA 35th Anniversary Team in 1981, and the NBA's 50th Anniversary All-Time Team in 1996, making him one of only four players that were selected to each of those teams. He was also the first president of National Basketball Players Association. On August 22, 2019, he was awarded the Presidential Medal of Freedom by Donald Trump. In October 2021, Cousy was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Early years Cousy was the only son of poor French immigrants living in New York City. He grew up in the Yorkville neighborhood of Manhattan's East Side, in the midst of the Great Depression. His father Joseph was a cab driver, who earned extra income by moonlighting. The elder Cousy had served in the German Army during World War I. Shortly after the war, his first wife died of pneumonia, leaving behind a young daughter. He married Julie Corlet, a secretary and French teacher from Dijon. At the time of the 1930 census, the family was renting an apartment in Astoria, Queens, for $50 per month. The younger Cousy spoke French for the first 5 years of his life, and started to speak English only after entering primary school. He spent his early days playing stickball in a multicultural environment, regularly playing with African Americans, Jews and other ethnic minority children. These experiences ingrained him with a strong anti-racist sentiment, an attitude he prominently promoted during his professional career. When he was 12, his family moved to a rented house in St. Albans, Queens. That summer, the elder Cousy put a $500 down payment for a $4,500 house four blocks away. He rented out the bottom two floors of the three-story building to tenants to help make his mortgage payments on time. Andrew Jackson High School Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. Holy Cross Cousy was one of six freshmen on the Holy Cross Crusaders' varsity basketball team in 1946–47. From the start of the season, coach Doggie Julian chose to play the six freshmen off the bench in a two-team system, so that each player would get some time on the court. As members of the "second team", they would come off the bench nine and a half minutes into the game, where they would relieve the "first team" starters. They would sometimes get to play as much as a third or even half of the game, but even at that Cousy was so disappointed with the lack of playing time that he went to the campus chapel after practice to pray that Julian would give him more of a chance to show off his talents on the court. Early in the season, however, he got into trouble with Julian, who accused him of being a showboater. Even as late as that 1946–47 season basketball was a static game, depending on slow, deliberate player movement and flat-footed shots. Far different was Cousy's up-tempo, streetball-like game, marked by ambidextrous finesse play and notable for behind-the-back dribbling and no-look, behind-the-back and half-court passing. Even so, he had enough playing time in games to score 227 points for the season, finishing with the third-highest total on the team. Led by stars George Kaftan and Joe Mullaney, the Crusaders finished the 1946–47 basketball season 24–3. On the basis of that record, Holy Cross got into the 1947 NCAA Tournament as the last seed in the then only eight-team tournament. In the first game, they defeated Navy 55–47 in front of a sell-out crowd at Madison Square Garden. Mullaney led the team in scoring with 18 points, thanks to Navy coach Ben Carnevale's decision to have his players back off from Mullaney, who was reputed as being more of a playmaker than a shooter. In the semifinal game, the Crusaders faced CCNY, coached by Nat Holman, one of the game's earliest innovators. Led by Kaftan's 30 points, Holy Cross easily defeated the Beavers 60–45. In the championship game, the Crusaders faced Oklahoma, coached by Bruce Drake, in another sold-out game at Madison Square Garden. Kaftan followed up his 30-point semifinal heroics with a mere 18 points in the title game, which was far more than enough for the team to defeat the Sooners 58–47. Cousy played poorly, however, scoring only four points on 2-for-13 shots. Holy Cross became the first New England college to win the NCAA tournament. On their arrival back in Worcester, the team was given a hero's welcome by about 10,000 cheering fans who met their train at Union Station. The following season Julian limited Cousy's playing time, to the point that the frustrated sophomore contemplated transferring out of Holy Cross. Cousy wrote a letter to coach Joe Lapchick of St. John's University in New York, informing him that he was considering a transfer there. Lapchick wrote back to Cousy that he considered Julian "one of the finest basketball coaches in America" and that he believed Julian had no bad intentions in restricting his playing time. He told Cousy that Julian would use him more often during his later years with the team. Lapchick alerted Cousy that transferring was a very risky move: according to NCAA rules, the player would be required to sit out a year before becoming eligible to play for the school to which he transferred. During Cousy's senior year of 1949–1950, his fate changed in a match against Loyola of Chicago at Boston Garden. With 5 minutes left and Holy Cross trailing, the crowd started to chant "We want Cousy!" until coach Julian relented. In these few minutes, Cousy scored 11 points and hit a game-winning buzzer-beater coming off a behind-the-back dribble. The performance established him as a team leader, and he then led Holy Cross to 26 straight wins and a Number 4 national ranking. A three-time All-American, Cousy ended his college career in the 1950 NCAA Tournament, when Holy Cross fell to North Carolina State in an opening-round game at Madison Square Garden. CCNY would go on to win the tournament. Boston Celtics Early years (1950–1956) Cousy turned pro and made himself available for the 1950 NBA draft. The Boston Celtics had just concluded the 1949–50 NBA season with a poor 22–46 win-loss record and had the first draft pick. It was strongly anticipated that they would draft the highly coveted local favorite Cousy. However, coach Red Auerbach snubbed him for center Charlie Share, saying: "Am I supposed to win, or please the local yokels?" The local press strongly criticized Auerbach, but other scouts were also skeptical about Cousy, viewing him as flamboyant but ineffective. One scout wrote in his report: "The first time he tries that fancy Dan stuff in this league, they'll cram the ball down his throat." As a result, the Tri-Cities Blackhawks drafted Cousy, but the point guard was unenthusiastic about his new employer. Cousy was trying to establish a driving school in Worcester, Massachusetts and did not want to relocate to the Midwestern triangle of the three small towns of Moline, Rock Island and Davenport. As compensation for having to give up his driving school, Cousy demanded a salary of $10,000 from Blackhawks owner Ben Kerner. When Kerner offered him only $6,000, Cousy refused to report. Cousy was then picked up by the Chicago Stags, but when they folded, league Commissioner Maurice Podoloff declared three Stags available for a dispersal draft: team scoring leader Max Zaslofsky, Andy Phillip and Cousy. Celtics owner Walter A. Brown was one of the three club bosses invited. He later made it clear that he was hoping for Zaslofsky, would have tolerated Phillip, and did not want Cousy. When the Celtics drew Cousy, Brown confessed: "I could have fallen to the floor." Brown reluctantly gave him a $9,000 salary. It was not long before both Auerbach and Brown changed their minds. With averages of 15.6 points, 6.9 rebounds and 4.9 assists a game, Cousy received the first of his 13 consecutive NBA All-Star selections and led a Celtics team with future Naismith Memorial Basketball Hall of Famers Ed Macauley and Bones McKinney to a 39–30 record in the 1950–51 NBA season. However, in the 1951 NBA Playoffs, the Celtics were beaten by the New York Knicks. With future Hall-of-Fame guard Bill Sharman on board the next season, Cousy averaged 21.7 points, 6.4 rebounds and 6.7 assists per game en route to his first All-NBA First Team nomination. Nonetheless, the Celtics lost to the Knicks in the 1952 NBA Playoffs. In the following season, Cousy made further progress. Averaging 7.7 assists per game, he won the first of his eight consecutive assists titles. These numbers were made despite the fact that the NBA had not yet introduced the shot clock, making the game static and putting prolific assist givers at a disadvantage. Powered by Auerbach's quick fastbreak-dominated tactics, the Celtics won 46 games and beat the Syracuse Nationals 2–0 in the 1953 NBA Playoffs. Game 2 ended 111–105 in a 4-overtime thriller, in which Cousy had a much-lauded game. Despite having an injured leg, he scored 25 points after four quarters, scored 6 of his team's 9 points in the first overtime, hit a clutch free throw in the last seconds, and scored all 4 of Boston's points in the second overtime. He scored 8 more points in the third overtime, among them a 25-ft. buzzer beater. In the fourth overtime, he scored 9 of Boston's 12 points. Cousy played 66 minutes, and scored 50 points after making a still-standing record of 30 free throws in 32 attempts. This game is regarded by the NBA as one of the finest scoring feats ever, in line with Wilt Chamberlain's 100-point game. However, for the third time in a row, the Knicks beat Boston in the next round. In the next three years, Cousy firmly established himself as one of the league's best point guards. Leading the league in assists all 3 seasons, and averaging 20 points and 7 rebounds, the versatile Cousy earned himself three more All-NBA First Team and All-Star honors, and was also Most Valuable Player of the 1954 NBA All-Star Game. In terms of playing style, Cousy introduced an array of visually attractive street basketball moves, described by the NBA as a mix of ambidextrous, behind-the-back dribbling and "no-look passes, behind-the-back feeds or half-court fastbreak launches". Cousy's modus operandi contrasted with the rest of the NBA, which was dominated by muscular low post scorers and deliberate set shooters. Soon, he was called "Houdini of the Hardwood" after the magician Harry Houdini. Cousy's crowd-pleasing and effective play drew the crowd into the Boston Garden and also won over coach Auerbach, who no longer saw him as a liability, but as an essential building block for the future. The Celtics eventually added two talented forwards, future Hall-of-Famer Frank Ramsey and defensive specialist Jim Loscutoff. Along with Celtics colleague Bob Brannum, Loscutoff also became Cousy's unofficial bodyguard, retaliating against opposing players who would try to hurt him. The Celtics were unable to make their mark in the 1954 NBA Playoffs, 1955 NBA Playoffs, and 1956 NBA Playoffs, where they lost three times in a row against the Nationals. Cousy attributed the shortcomings to fatigue, stating: "We would get tired in the end and could not get the ball". As a result, Auerbach sought a defensive center who could get easy rebounds, initiate fast breaks and close out games. Dynasty years (1957–1963) Before the 1956–57 NBA season, Auerbach drafted two future Hall-of-Famers: forward Tom Heinsohn, and defensive center Bill Russell. Powered by these new players, the Celtics went 44–28 in the regular season, and Cousy averaged 20.6 points, 4.8 rebounds and a league-leading 7.5 assists, earning his first NBA Most Valuable Player Award; he also won his second NBA All-Star Game MVP award. The Celtics reached the 1957 NBA Finals, and powered by Cousy on offense and rugged center Russell on defense, they beat the Hawks 4–3, who were noted for future Hall-of-Fame power forward Bob Pettit and former teammates Macauley and Hagan. Cousy finally won his first title. In the 1957–58 NBA season, Cousy had yet another highly productive year, with his 20.0 points, 5.5 rebounds and 8.6 assists per game leading to nominations into the All-NBA First Team and the All-Star team. He again led the NBA in assists. The Celtics reached the 1958 NBA Finals against the Hawks, but when Russell succumbed to a foot injury in Game 3, the Celtics faded and bowed out four games to two. This was the last losing NBA playoff series in which Cousy would play. In the following 1958–59 NBA season, the Celtics got revenge on their opposition, powered by an inspired Cousy, who averaged 20.0 points, 5.5 rebounds and a league-high 8.6 assists a game, won another assists title and another pair of All-NBA First Team and All-Star team nominations. Late in the season, Cousy reasserted his playmaking dominance by setting an NBA record with 28 assists in a game against the Minneapolis Lakers. While that record was broken 19 years later, Cousy also set a record for 19 assists in a half which has never been broken. The Celtics stormed through the playoffs and, behind Cousy's 51 total assists (still a record for a four-game NBA Finals series), defeated the Minneapolis Lakers in the first 4–0 sweep ever in the 1959 NBA Finals. In the 1959–60 NBA season, Cousy was again productive, his 19.4 points, 4.7 rebounds and 9.5 assists per game earning him his eighth consecutive assists title and another joint All-NBA First Team and All-Star team nomination. Again, the Celtics defeated all opposition and won the 1960 NBA Finals 4–3 against the Hawks. A year later, the 32-year-old Cousy scored 18.1 points, 4.4 rebounds and 7.7 assists per game, winning another pair of All-NBA First Team and All-Star nominations, but failing to win the assists crown after eight consecutive seasons. However, the Celtics won the 1961 NBA Finals after convincingly beating the Hawks 4–1. In the 1961–62 NBA season, the aging Cousy slowly began to fade statistically, averaging 15.7 points, 3.5 rebounds and 7.8 assists, and was voted into the All-NBA Second Team after ten consecutive First Team nominations. Still, he enjoyed a satisfying postseason, winning the 1962 NBA Finals after 4–3 battles against two upcoming teams, the Philadelphia Warriors and Los Angeles Lakers. The Finals series against the Lakers was especially dramatic, because Lakers guard Frank Selvy failed to make a last-second buzzer beater in Game 7 which would have won the title. Finally, in the 1962–63 NBA season, the last of his career, Cousy averaged 13.2 points, 2.5 rebounds and 6.8 assists, and collected one last All-Star and All-NBA Second Team nomination. In the 1963 NBA Finals, the Celtics again won 4–2 against the Lakers, and Cousy finished his career on a high note: in the fourth quarter of Game 6, Cousy sprained an ankle and had to be helped to the bench. He went back in with Boston up 1. Although he did not score again, he was credited with providing an emotional lift that carried the Celtics to victory, 112–109. The game ended with Cousy throwing the ball into the rafters. Retirement At age 34, Cousy held his retirement ceremony on March 17, 1963, in a packed Boston Garden. The event became known as the Boston Tear Party, when the crowd's response overwhelmed Cousy, left him speechless, and caused his planned 7-minute farewell to go on for 20. Joe Dillon, a water worker from South Boston, Massachusetts, and a devoted Celtics fan, screamed "We love ya, Cooz", breaking the tension and the crowd went into cheers. As a testament to Cousy's legacy, President John F. Kennedy wired to Cousy: "The game bears an indelible stamp of your rare skills and competitive daring." NBA career statistics Regular season Playoffs Post-playing career After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91–86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 114 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals. Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973–74 NBA season with a 141–209 record. Despite his unfamiliarity with the sport, Cousy was appointed Commissioner of the American Soccer League on December 19, 1974. His most notable act as commissioner was to declare the New York Apollo and Boston Astros co‐champions after both teams played 67 minutes of extra time without resolution in the second and deciding leg of the league's championship series on September 20, 1975. He was relieved of his duties on December 1, 1979. Pennsylvania Stoners club owner Willie Ehrlich explained the dismissal by stating, "After five years as commissioner, Cousy still goes around telling people he knows nothing about soccer." He was a color analyst on Celtics telecasts during the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman (and with ex-Celtic teammate Tom Heinsohn prior to Heinsohn's death on November 9, 2020). Coaching record College coaching record NBA coaching record \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|5th in Eastern\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|33\|\|49\|\|.402\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|30\|\|52\|\|.366\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|4th in Midwest\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|20\|\|6\|\|14\|\|.300\|\| align="center" \|(resigned)\|\|—\|\|—\|\|—\|\|— \| align="center" \|— \|-class="sortbottom" \| align="left" \|Career \| \|\|348\|\|141\|\|207\|\|.405\|\| \|\|—\|\|—\|\|—\|\|— \| align="center" \|— Legacy NBA Players Union In 1954, the NBA had no health benefits, pension plan, minimum salary, and the average player's salary was $8,000 ($82,000 in 2021 dollars) a season. To combat this, Cousy organized the National Basketball Players Association, the first trade union among those in the four major North American professional sports leagues. Cousy served as its first president until 1958. In his 13-year, 924-game NBA playing career, Cousy finished with 16,960 points, 4,786 rebounds and 6,955 assists, translating to averages of 18.4 points, 5.2 rebounds and 7.5 assists per game. He was regarded as the first great point guard of the NBA, winning eight of the first 11 assist titles in the league, all of them en bloc, and had a highly successful career, winning six NBA titles, one MVP award, 13 All-Star and 12 All-NBA First and Second Team call-ups and two All-Star MVP awards. With his eye-catching dribbling and unorthodox passing, Cousy popularized modern guard play and raised the profile of the Boston Celtics and the entire NBA. His fast-paced playing style was later emulated by the likes of Pete Maravich and Magic Johnson. In recognition of his feats, Cousy was inducted into the Naismith Memorial Basketball Hall of Fame in 1971 and honored by the Celtics, who retired his uniform number, 14. Celtics owner Walter Brown said: "The Celtics wouldn't be here without him [Cousy]. He made basketball in this town. If he had played in New York he would have been the biggest thing since [New York Yankees baseball legend] Babe Ruth. I think he is anyway." In addition, on May 11, 2006, ESPN.com rated Cousy as the fifth-greatest point guard of all time, lauding him as "ahead of his time with his ballhandling and passing skills" and pointing out he is one of only seven point guards ever to win an NBA Most Valuable Player award. On November 16, 2008, Cousy's college uniform number, 17, was hoisted to the Hart Center rafters. During halftime of a game between the Holy Cross Crusaders and St. Joseph's Hawks, the uniform numbers of Cousy, George Kaftan, Togo Palazzi, and Tommy Heinsohn became the first to hang from the gymnasium's ceiling. On July 1, 2019, Cousy advised The Boston Globe that he had received an official letter notifying him that he would receive the Presidential Medal of Freedom from President Donald Trump on August 22, 2019. He received the medal at a ceremony in the Oval Office. A statue of Cousy was installed outside the DCU Center in Worcester, Massachusetts, in 2021. Personal life Cousy married his college sweetheart, Missie Ritterbusch, in December 1950, six months after he graduated from Holy Cross. They lived in Worcester, Massachusetts, and had two daughters. His wife died on September 20, 2013, after suffering from dementia for several years. Cousy was well-known, both on and off the court, for his public stance against racism, a result of his upbringing in a multicultural environment. In 1950, the Celtics played a game in the then-segregated city of Charlotte, North Carolina, and teammate Chuck Cooper—the first African-American in NBA history to be drafted—would have been denied a hotel room. Instead of taking the hotel room, Cousy insisted on travelling with Cooper on an uncomfortable overnight train. He described their visit to a segregated men's toilet—Cooper was prohibited from using the clean "for whites" bathroom and had to use the shabby "for colored" facility—as one of the most shameful experiences of his life. He also sympathized with the plight of black Celtics star Bill Russell, who was frequently a victim of racism. Cousy was close to his Celtics mentor, head coach Red Auerbach, and was one of the few permitted to call him "Arnold", his given name, instead of his nickname "Red". See also List of athletes who came out of retirement List of National Basketball Association career assists leaders List of National Basketball Association career free throw scoring leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association players with most assists in a game List of National Basketball Association single-game playoff scoring leaders References External links Bob Cousy on nba.com 1928 births Living people All-American college men's basketball players American men's basketball players American people of French descent American sports announcers Andrew Jackson High School (Queens) alumni Basketball coaches from New York (state) Basketball players at the 1947 NCAA Final Four Basketball players at the 1948 NCAA Final Four Basketball players from New York City Basketball players from Worcester, Massachusetts Boston Celtics announcers Boston Celtics players Boston College Eagles men's basketball coaches Cincinnati Royals head coaches Cincinnati Royals players College men's basketball head coaches in the United States Holy Cross Crusaders men's basketball players Kansas City-Omaha Kings head coaches Kansas City Kings head coaches Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association broadcasters National Basketball Association players with retired numbers National Basketball Players Association presidents People from St. Albans, Queens People from Yorkville, Manhattan Player-coaches Point guards Presidential Medal of Freedom recipients Sportspeople from Manhattan Tri-Cities Blackhawks draft picks	true	[ "Manvel Mamoyan () is an Armenian fitness and bodybuilding trainer, fitness blogger, and three times Guinness World Records holder. He is also a multiple record holder of Armenian Book of Records (Dyutsaznagirk).\n\nBiography\n\nManvel was born on April 6, 1993 in Yerevan. Currently works as fitness and bodybuilding trainer. He has been practising sports since 10, when he started attending Judo classes.\n\nIn 2011-2013 he served in the Armenian Armed Forces.\n\nRecords \n\nUntil 18, Manvel also tried himself in Greco-Roman and freestyle wrestling. Manvel set his 11th record in Armenia when he was only 17. His first record was set in Dyutsaznagirk by doing sit up - abdominal exercise for 2 h. 46 min for 3511 reps. For the second time he appeared in Dyutsaznagirk for the most push-ups with one arm using back of the hand in one minute - 89 reps.\n\n2015-2016 \nAfter returning from the army, Manvel set a Guinness world record in October 23, 2015. He did 27 handstand push-ups in a minute. In order to complete one handstand push-up, Manvel’s elbows had to reach 90 degrees or less and then he had to fully straighten his arms. His legs also had to be straight or cross his ankles. He did the exercise in 48,3 seconds. Manvel didn’t have any injury before his performance, and the record was set. He dedicated his victory to the memory of the Genocide of Armenian and Yazidi people promised to update his record throughout the year.\n\n2016-2017 \nOn 25 August, 2016 Manvel dedicated his record in memory of the victims of the 2016 April Four-Day War unleashed in Nagorno-Karabakh. In response to the murder of Hayk Torosyan, Hrant Gharibyan and his compatriot Kyaram Sloyan by Azeris, Manvel Mamoyan set a new record: however, in August, 2016 he couldn’t exceed the record (84 push-ups) of the Canadian Roy Berger from his first performance in the Freedom Square, Yerevan, by reaching 83 reps. According to the Guinness World Records’ rules the athlete has a right to perform the exercise for 3 sets. Manvel managed to set the desired record from his second performance, after having a rest. By doing push-ups for 86 reps in a minute, the athlete exceeded the previous record and set a record in the Guinness World Records.\n\nIn one his interviews Manvel told about his desire to set 10 records in Guinness World Records in a year, particularly by through the Flag exercise, which was set as a record a few years ago by him and was performed for only 20 seconds. It was included in Dyutsaznagirk. He also mentioned he strives to set records more for Guinness World Records. In 2016 Manvel fell behind 5-6 seconds of setting a new world record and the record was 1 min. 5 sec. 71 millisec.\n\n2017-2018 \nIn 2017 Manvel set 4 records in handstand push-ups. He did the exercise 37 reps in a minute. With this result then he set a new record by doing 37 reps non-stop in a minute. \n\nFor his second record he did the same exercise 55 reps in 3 minutes. However, Manvel's last and most important result was doing push-ups for 352 reps in an hour. According to him, the achieved most result was 300 reps and he wished to surpass that record. \n\nIn 2017 Manvel also set a record for the Most jump squats in one minute (male), with 67 reps per minute.\n\nReferences\n\nBibliography \n \n \n\n1993 births\nLiving people\nGuinness World Records\nSportspeople from Yerevan\nMale bodybuilders", "3 (sometimes referred to as Emerson, Berry & Palmer) were a short-lived progressive rock band formed by former Emerson, Lake & Palmer members Keith Emerson and Carl Palmer and American multi-instrumentalist Robert Berry in 1988.\n\nAfter one album, To the Power of Three, 3 split up. Emerson & Palmer reunited with Greg Lake for 1992's Black Moon and Berry would form Alliance.\n\nThey performed live, as \"Emerson and Palmer\" (Berry was onstage but unnamed), at the Atlantic Records 40th Anniversary concert in 1988, broadcast on HBO, but only performed a long medley instrumental set including Fanfare for the Common Man, Leonard Bernstein's America, and Dave Brubeck's Blue Rondo, which later became an ELP encore in their 1990s concerts. They did not perform any original ELP material without Lake, nor did they perform any 3 songs since the band's label was Geffen Records.\n\n3 performed at live venues to support their album, sometime in 1988. The three studio musicians were sometimes augmented by Paul Keller on guitar, Debra Parks and Jennifer Steele on backing vocals. Their setlist mainly consisted of material from their album, including \"Runaway\" and an extended jam version of the cover song \"Eight Miles High\". The group did a different arrangement of \"Desde La Vida\". The band did long instrumental jams based on music ELP covered including \"Hoedown\" & \"Fanfare for the Common Man\", but did not do any original ELP compositions. A long, elaborate cover of The Four Tops' \"Standing in the Shadows of Love\" was also included in the set.\n\nTwo live albums were released many years later, both on Rock Beat Records: Live Boston 88 (2015) and Live - Rockin' The Ritz (2017).\n\nIn October 2015, Emerson and Berry signed a contract with Frontiers Records to record a follow-up album at last, to be called 3.2. Emerson's death in March of the following year put a halt to that project. However, in July 2018, Berry released (as 3.2) The Rules Have Changed, built from musical ideas contributed by Emerson, but produced and performed entirely by Berry. A second 3.2 album, Third Impression, was released in 2021.\n\nBand members\nKeith Emerson - keyboards (1988–1989)\nRobert Berry - lead vocals, guitars, bass (1988–1989)\nCarl Palmer - drums, percussion (1988–1989)\n\nLive members\nPaul Keller – guitars (1988–1989)\nDebra Parks - backing vocals (1988-1989)\nJennifer Steele – backing vocals (1988–1989)\n\nDiscography\n\nStudio albums\n\nSingle\n\nReferences\n\nSee also\nEmerson, Lake & Palmer\nEmerson, Lake & Powell\n\nEnglish progressive rock groups\nRock music supergroups\nMusical groups established in 1988\nMusical groups disestablished in 1989\nMusical trios" ]
[ "Bob Cousy", "Andrew Jackson High SchoolEdit", "What did he do in high school?", "His basketball success was not immediate, and in fact he was cut from the school team in his first year.", "Did he play his second year?", "The next year, however, he was again cut during the tryouts for the school basketball team.", "When did he play in high school?", "During a Press League game, the high school basketball coach saw him play.", "What did the coach do after seeing him play?", "invited Cousy to come to practice the following day to try out for the junior varsity team.", "Did he make the team?", "but failing his citizenship course made him ineligible for the first semester.", "When did he start to play basketball in high school?", "He joined the varsity squad midway through the season, however, scoring 28 points in his first game.", "Did he set any records?", "amassing more points than any other New York City high school basketball player." ]	C_c1f5802ee0c6469f8ce371c39ac805b0_1	Are there any other interesting aspects about this article?	8	Are there any other interesting aspects about Bob Cousy other than playing basketball in high school?	Bob Cousy	Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. CANNOTANSWER	He was even named captain of the Journal-American All-Scholastic team.	Robert Joseph Cousy (, born August 9, 1928) is an American former professional basketball player. Cousy played point guard with the Boston Celtics from 1950 to 1963, and briefly with the Cincinnati Royals in the 1969–70 season. Making his high school varsity squad as a junior, he went on to earn a scholarship to the College of the Holy Cross, where he led the Crusaders to berths in the 1948 NCAA Tournament and 1950 NCAA Tournament, and won NCAA All-American honors for three seasons. Cousy was initially drafted by the Tri-Cities Blackhawks as the third overall pick in the first round of the 1950 NBA draft, but after he refused to report, he was picked up by Boston. He had an exceptionally successful career with the Celtics, leading the league an unprecedented 8 straight years in assists, playing on six NBA championship teams, and being voted into 13 NBA All-Star Games in his 13 full NBA seasons. He was also named to 12 All-NBA First and Second Teams and won the 1957 NBA Most Valuable Player Award. En route to his assist streak that was unmatched either in number of crowns or consecutive years, Cousy introduced a new blend of ball-handling and passing skills to the NBA that earned him the nickname "The Houdini of the Hardwood". Also known as "Cooz", he was regularly introduced at Boston Garden as "Mr. Basketball". After his playing career, he coached the Royals for several years, capped by a seven-game cameo comeback for them at age 41. Cousy then became a broadcaster for Celtics games. Upon his election to the Naismith Memorial Basketball Hall of Fame in 1971 the Celtics retired his No. 14 jersey and hung it in the rafters of the Garden. Cousy was named to the NBA 25th Anniversary Team in 1971, the NBA 35th Anniversary Team in 1981, and the NBA's 50th Anniversary All-Time Team in 1996, making him one of only four players that were selected to each of those teams. He was also the first president of National Basketball Players Association. On August 22, 2019, he was awarded the Presidential Medal of Freedom by Donald Trump. In October 2021, Cousy was honored as one of the league's greatest players of all time by being named to the NBA 75th Anniversary Team. Early years Cousy was the only son of poor French immigrants living in New York City. He grew up in the Yorkville neighborhood of Manhattan's East Side, in the midst of the Great Depression. His father Joseph was a cab driver, who earned extra income by moonlighting. The elder Cousy had served in the German Army during World War I. Shortly after the war, his first wife died of pneumonia, leaving behind a young daughter. He married Julie Corlet, a secretary and French teacher from Dijon. At the time of the 1930 census, the family was renting an apartment in Astoria, Queens, for $50 per month. The younger Cousy spoke French for the first 5 years of his life, and started to speak English only after entering primary school. He spent his early days playing stickball in a multicultural environment, regularly playing with African Americans, Jews and other ethnic minority children. These experiences ingrained him with a strong anti-racist sentiment, an attitude he prominently promoted during his professional career. When he was 12, his family moved to a rented house in St. Albans, Queens. That summer, the elder Cousy put a $500 down payment for a $4,500 house four blocks away. He rented out the bottom two floors of the three-story building to tenants to help make his mortgage payments on time. Andrew Jackson High School Cousy took up basketball at the age of 13 as a student at St. Pascal's elementary school, and was "immediately hooked". The following year, he entered Andrew Jackson High School in St Albans. His basketball success was not immediate, and in fact he was cut from the school team in his first year. Later that year, he joined the St. Albans Lindens of the Press League, a basketball league sponsored by the Long Island Press, where he began to develop his basketball skills and gained much-needed experience. The next year, however, he was again cut during the tryouts for the school basketball team. That same year, he fell out of a tree and broke his right hand. The injury forced him to play left-handed until his hand healed, making him effectively ambidextrous. In retrospect, he described this accident as "a fortunate event" and cited it as a factor in making him more versatile on the court. During a Press League game, the high school basketball coach saw him play. He was impressed by the budding star's two-handed ability and invited Cousy to come to practice the following day to try out for the junior varsity team. He did well enough to become a permanent member of the JV squad. He continued to practice day and night, and by his junior year was sure he was going to be promoted to the varsity; but failing his citizenship course made him ineligible for the first semester. He joined the varsity squad midway through the season, however, scoring 28 points in his first game. He had no intention of attending college, but after he started to make a name for himself on the basketball court he started to focus on improving in both academics and basketball skills to make it easier for him to get into college. He again excelled in basketball his senior year, leading his team to the Queens divisional championship and amassing more points than any other New York City high school basketball player. He was even named captain of the Journal-American All-Scholastic team. He then began to plan for college. His family had wanted him to attend a Catholic school, and he wanted to go somewhere outside New York City. Boston College recruited him, and he considered accepting the BC offer, but it had no dormitories, and he was not interested in being a commuter student. Soon afterward, he received an offer from the College of the Holy Cross in Worcester, Massachusetts about forty miles (64 kilometers) west of Boston. He was impressed by the school, and accepted the basketball scholarship it offered him. He spent the summer before matriculating working at Tamarack Lodge in the Catskill Mountains and playing in a local basketball league along with a number of established college players. Holy Cross Cousy was one of six freshmen on the Holy Cross Crusaders' varsity basketball team in 1946–47. From the start of the season, coach Doggie Julian chose to play the six freshmen off the bench in a two-team system, so that each player would get some time on the court. As members of the "second team", they would come off the bench nine and a half minutes into the game, where they would relieve the "first team" starters. They would sometimes get to play as much as a third or even half of the game, but even at that Cousy was so disappointed with the lack of playing time that he went to the campus chapel after practice to pray that Julian would give him more of a chance to show off his talents on the court. Early in the season, however, he got into trouble with Julian, who accused him of being a showboater. Even as late as that 1946–47 season basketball was a static game, depending on slow, deliberate player movement and flat-footed shots. Far different was Cousy's up-tempo, streetball-like game, marked by ambidextrous finesse play and notable for behind-the-back dribbling and no-look, behind-the-back and half-court passing. Even so, he had enough playing time in games to score 227 points for the season, finishing with the third-highest total on the team. Led by stars George Kaftan and Joe Mullaney, the Crusaders finished the 1946–47 basketball season 24–3. On the basis of that record, Holy Cross got into the 1947 NCAA Tournament as the last seed in the then only eight-team tournament. In the first game, they defeated Navy 55–47 in front of a sell-out crowd at Madison Square Garden. Mullaney led the team in scoring with 18 points, thanks to Navy coach Ben Carnevale's decision to have his players back off from Mullaney, who was reputed as being more of a playmaker than a shooter. In the semifinal game, the Crusaders faced CCNY, coached by Nat Holman, one of the game's earliest innovators. Led by Kaftan's 30 points, Holy Cross easily defeated the Beavers 60–45. In the championship game, the Crusaders faced Oklahoma, coached by Bruce Drake, in another sold-out game at Madison Square Garden. Kaftan followed up his 30-point semifinal heroics with a mere 18 points in the title game, which was far more than enough for the team to defeat the Sooners 58–47. Cousy played poorly, however, scoring only four points on 2-for-13 shots. Holy Cross became the first New England college to win the NCAA tournament. On their arrival back in Worcester, the team was given a hero's welcome by about 10,000 cheering fans who met their train at Union Station. The following season Julian limited Cousy's playing time, to the point that the frustrated sophomore contemplated transferring out of Holy Cross. Cousy wrote a letter to coach Joe Lapchick of St. John's University in New York, informing him that he was considering a transfer there. Lapchick wrote back to Cousy that he considered Julian "one of the finest basketball coaches in America" and that he believed Julian had no bad intentions in restricting his playing time. He told Cousy that Julian would use him more often during his later years with the team. Lapchick alerted Cousy that transferring was a very risky move: according to NCAA rules, the player would be required to sit out a year before becoming eligible to play for the school to which he transferred. During Cousy's senior year of 1949–1950, his fate changed in a match against Loyola of Chicago at Boston Garden. With 5 minutes left and Holy Cross trailing, the crowd started to chant "We want Cousy!" until coach Julian relented. In these few minutes, Cousy scored 11 points and hit a game-winning buzzer-beater coming off a behind-the-back dribble. The performance established him as a team leader, and he then led Holy Cross to 26 straight wins and a Number 4 national ranking. A three-time All-American, Cousy ended his college career in the 1950 NCAA Tournament, when Holy Cross fell to North Carolina State in an opening-round game at Madison Square Garden. CCNY would go on to win the tournament. Boston Celtics Early years (1950–1956) Cousy turned pro and made himself available for the 1950 NBA draft. The Boston Celtics had just concluded the 1949–50 NBA season with a poor 22–46 win-loss record and had the first draft pick. It was strongly anticipated that they would draft the highly coveted local favorite Cousy. However, coach Red Auerbach snubbed him for center Charlie Share, saying: "Am I supposed to win, or please the local yokels?" The local press strongly criticized Auerbach, but other scouts were also skeptical about Cousy, viewing him as flamboyant but ineffective. One scout wrote in his report: "The first time he tries that fancy Dan stuff in this league, they'll cram the ball down his throat." As a result, the Tri-Cities Blackhawks drafted Cousy, but the point guard was unenthusiastic about his new employer. Cousy was trying to establish a driving school in Worcester, Massachusetts and did not want to relocate to the Midwestern triangle of the three small towns of Moline, Rock Island and Davenport. As compensation for having to give up his driving school, Cousy demanded a salary of $10,000 from Blackhawks owner Ben Kerner. When Kerner offered him only $6,000, Cousy refused to report. Cousy was then picked up by the Chicago Stags, but when they folded, league Commissioner Maurice Podoloff declared three Stags available for a dispersal draft: team scoring leader Max Zaslofsky, Andy Phillip and Cousy. Celtics owner Walter A. Brown was one of the three club bosses invited. He later made it clear that he was hoping for Zaslofsky, would have tolerated Phillip, and did not want Cousy. When the Celtics drew Cousy, Brown confessed: "I could have fallen to the floor." Brown reluctantly gave him a $9,000 salary. It was not long before both Auerbach and Brown changed their minds. With averages of 15.6 points, 6.9 rebounds and 4.9 assists a game, Cousy received the first of his 13 consecutive NBA All-Star selections and led a Celtics team with future Naismith Memorial Basketball Hall of Famers Ed Macauley and Bones McKinney to a 39–30 record in the 1950–51 NBA season. However, in the 1951 NBA Playoffs, the Celtics were beaten by the New York Knicks. With future Hall-of-Fame guard Bill Sharman on board the next season, Cousy averaged 21.7 points, 6.4 rebounds and 6.7 assists per game en route to his first All-NBA First Team nomination. Nonetheless, the Celtics lost to the Knicks in the 1952 NBA Playoffs. In the following season, Cousy made further progress. Averaging 7.7 assists per game, he won the first of his eight consecutive assists titles. These numbers were made despite the fact that the NBA had not yet introduced the shot clock, making the game static and putting prolific assist givers at a disadvantage. Powered by Auerbach's quick fastbreak-dominated tactics, the Celtics won 46 games and beat the Syracuse Nationals 2–0 in the 1953 NBA Playoffs. Game 2 ended 111–105 in a 4-overtime thriller, in which Cousy had a much-lauded game. Despite having an injured leg, he scored 25 points after four quarters, scored 6 of his team's 9 points in the first overtime, hit a clutch free throw in the last seconds, and scored all 4 of Boston's points in the second overtime. He scored 8 more points in the third overtime, among them a 25-ft. buzzer beater. In the fourth overtime, he scored 9 of Boston's 12 points. Cousy played 66 minutes, and scored 50 points after making a still-standing record of 30 free throws in 32 attempts. This game is regarded by the NBA as one of the finest scoring feats ever, in line with Wilt Chamberlain's 100-point game. However, for the third time in a row, the Knicks beat Boston in the next round. In the next three years, Cousy firmly established himself as one of the league's best point guards. Leading the league in assists all 3 seasons, and averaging 20 points and 7 rebounds, the versatile Cousy earned himself three more All-NBA First Team and All-Star honors, and was also Most Valuable Player of the 1954 NBA All-Star Game. In terms of playing style, Cousy introduced an array of visually attractive street basketball moves, described by the NBA as a mix of ambidextrous, behind-the-back dribbling and "no-look passes, behind-the-back feeds or half-court fastbreak launches". Cousy's modus operandi contrasted with the rest of the NBA, which was dominated by muscular low post scorers and deliberate set shooters. Soon, he was called "Houdini of the Hardwood" after the magician Harry Houdini. Cousy's crowd-pleasing and effective play drew the crowd into the Boston Garden and also won over coach Auerbach, who no longer saw him as a liability, but as an essential building block for the future. The Celtics eventually added two talented forwards, future Hall-of-Famer Frank Ramsey and defensive specialist Jim Loscutoff. Along with Celtics colleague Bob Brannum, Loscutoff also became Cousy's unofficial bodyguard, retaliating against opposing players who would try to hurt him. The Celtics were unable to make their mark in the 1954 NBA Playoffs, 1955 NBA Playoffs, and 1956 NBA Playoffs, where they lost three times in a row against the Nationals. Cousy attributed the shortcomings to fatigue, stating: "We would get tired in the end and could not get the ball". As a result, Auerbach sought a defensive center who could get easy rebounds, initiate fast breaks and close out games. Dynasty years (1957–1963) Before the 1956–57 NBA season, Auerbach drafted two future Hall-of-Famers: forward Tom Heinsohn, and defensive center Bill Russell. Powered by these new players, the Celtics went 44–28 in the regular season, and Cousy averaged 20.6 points, 4.8 rebounds and a league-leading 7.5 assists, earning his first NBA Most Valuable Player Award; he also won his second NBA All-Star Game MVP award. The Celtics reached the 1957 NBA Finals, and powered by Cousy on offense and rugged center Russell on defense, they beat the Hawks 4–3, who were noted for future Hall-of-Fame power forward Bob Pettit and former teammates Macauley and Hagan. Cousy finally won his first title. In the 1957–58 NBA season, Cousy had yet another highly productive year, with his 20.0 points, 5.5 rebounds and 8.6 assists per game leading to nominations into the All-NBA First Team and the All-Star team. He again led the NBA in assists. The Celtics reached the 1958 NBA Finals against the Hawks, but when Russell succumbed to a foot injury in Game 3, the Celtics faded and bowed out four games to two. This was the last losing NBA playoff series in which Cousy would play. In the following 1958–59 NBA season, the Celtics got revenge on their opposition, powered by an inspired Cousy, who averaged 20.0 points, 5.5 rebounds and a league-high 8.6 assists a game, won another assists title and another pair of All-NBA First Team and All-Star team nominations. Late in the season, Cousy reasserted his playmaking dominance by setting an NBA record with 28 assists in a game against the Minneapolis Lakers. While that record was broken 19 years later, Cousy also set a record for 19 assists in a half which has never been broken. The Celtics stormed through the playoffs and, behind Cousy's 51 total assists (still a record for a four-game NBA Finals series), defeated the Minneapolis Lakers in the first 4–0 sweep ever in the 1959 NBA Finals. In the 1959–60 NBA season, Cousy was again productive, his 19.4 points, 4.7 rebounds and 9.5 assists per game earning him his eighth consecutive assists title and another joint All-NBA First Team and All-Star team nomination. Again, the Celtics defeated all opposition and won the 1960 NBA Finals 4–3 against the Hawks. A year later, the 32-year-old Cousy scored 18.1 points, 4.4 rebounds and 7.7 assists per game, winning another pair of All-NBA First Team and All-Star nominations, but failing to win the assists crown after eight consecutive seasons. However, the Celtics won the 1961 NBA Finals after convincingly beating the Hawks 4–1. In the 1961–62 NBA season, the aging Cousy slowly began to fade statistically, averaging 15.7 points, 3.5 rebounds and 7.8 assists, and was voted into the All-NBA Second Team after ten consecutive First Team nominations. Still, he enjoyed a satisfying postseason, winning the 1962 NBA Finals after 4–3 battles against two upcoming teams, the Philadelphia Warriors and Los Angeles Lakers. The Finals series against the Lakers was especially dramatic, because Lakers guard Frank Selvy failed to make a last-second buzzer beater in Game 7 which would have won the title. Finally, in the 1962–63 NBA season, the last of his career, Cousy averaged 13.2 points, 2.5 rebounds and 6.8 assists, and collected one last All-Star and All-NBA Second Team nomination. In the 1963 NBA Finals, the Celtics again won 4–2 against the Lakers, and Cousy finished his career on a high note: in the fourth quarter of Game 6, Cousy sprained an ankle and had to be helped to the bench. He went back in with Boston up 1. Although he did not score again, he was credited with providing an emotional lift that carried the Celtics to victory, 112–109. The game ended with Cousy throwing the ball into the rafters. Retirement At age 34, Cousy held his retirement ceremony on March 17, 1963, in a packed Boston Garden. The event became known as the Boston Tear Party, when the crowd's response overwhelmed Cousy, left him speechless, and caused his planned 7-minute farewell to go on for 20. Joe Dillon, a water worker from South Boston, Massachusetts, and a devoted Celtics fan, screamed "We love ya, Cooz", breaking the tension and the crowd went into cheers. As a testament to Cousy's legacy, President John F. Kennedy wired to Cousy: "The game bears an indelible stamp of your rare skills and competitive daring." NBA career statistics Regular season Playoffs Post-playing career After retiring as a player, Cousy published his autobiography Basketball Is My Life in 1963, and in the same year became coach at Boston College. In the 1965 ECAC Holiday Basketball Festival at Madison Square Garden, Providence defeated Boston College 91–86 in the title game, when the Friars were led by Tourney MVP and All-American Jimmy Walker. Providence was coached by Joe Mullaney, who was Cousy's teammate at Holy Cross when the two men were players there in 1947. In his six seasons there, he had a record of 114 wins and 38 losses and was named New England Coach of the Year for 1968 and 1969. Cousy led the Eagles to three NIT appearances, including a berth in the 1969 NIT Championship and two National Collegiate Athletic Association tournaments, including the 1967 Eastern Regional Finals. Cousy grew bored with college basketball and returned to the NBA as coach of the Cincinnati Royals, team of fellow Hall-of-Fame point guard Oscar Robertson. He later said about this engagement, "I did it for the money. I was made an offer I couldn't refuse." In 1970, the 41-year-old Cousy even made a late-season comeback as a player. He continued as coach of the team after it moved from Cincinnati to Kansas City/Omaha, but stepped down as the Kings' coach early in the 1973–74 NBA season with a 141–209 record. Despite his unfamiliarity with the sport, Cousy was appointed Commissioner of the American Soccer League on December 19, 1974. His most notable act as commissioner was to declare the New York Apollo and Boston Astros co‐champions after both teams played 67 minutes of extra time without resolution in the second and deciding leg of the league's championship series on September 20, 1975. He was relieved of his duties on December 1, 1979. Pennsylvania Stoners club owner Willie Ehrlich explained the dismissal by stating, "After five years as commissioner, Cousy still goes around telling people he knows nothing about soccer." He was a color analyst on Celtics telecasts during the 1980s." In addition, Cousy had a role in the basketball film Blue Chips in 1993, in which he played a college athletic director. Today he is a marketing consultant for the Celtics, and occasionally makes broadcast appearances with Mike Gorman (and with ex-Celtic teammate Tom Heinsohn prior to Heinsohn's death on November 9, 2020). Coaching record College coaching record NBA coaching record \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|5th in Eastern\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|33\|\|49\|\|.402\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Cincinnati \| align="left" \| \|82\|\|30\|\|52\|\|.366\|\| align="center" \|3rd in Central\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|82\|\|36\|\|46\|\|.439\|\| align="center" \|4th in Midwest\|\|—\|\|—\|\|—\|\|— \| align="center" \|Missed playoffs \|- \| align="left" \|Kansas City–Omaha \| align="left" \| \|20\|\|6\|\|14\|\|.300\|\| align="center" \|(resigned)\|\|—\|\|—\|\|—\|\|— \| align="center" \|— \|-class="sortbottom" \| align="left" \|Career \| \|\|348\|\|141\|\|207\|\|.405\|\| \|\|—\|\|—\|\|—\|\|— \| align="center" \|— Legacy NBA Players Union In 1954, the NBA had no health benefits, pension plan, minimum salary, and the average player's salary was $8,000 ($82,000 in 2021 dollars) a season. To combat this, Cousy organized the National Basketball Players Association, the first trade union among those in the four major North American professional sports leagues. Cousy served as its first president until 1958. In his 13-year, 924-game NBA playing career, Cousy finished with 16,960 points, 4,786 rebounds and 6,955 assists, translating to averages of 18.4 points, 5.2 rebounds and 7.5 assists per game. He was regarded as the first great point guard of the NBA, winning eight of the first 11 assist titles in the league, all of them en bloc, and had a highly successful career, winning six NBA titles, one MVP award, 13 All-Star and 12 All-NBA First and Second Team call-ups and two All-Star MVP awards. With his eye-catching dribbling and unorthodox passing, Cousy popularized modern guard play and raised the profile of the Boston Celtics and the entire NBA. His fast-paced playing style was later emulated by the likes of Pete Maravich and Magic Johnson. In recognition of his feats, Cousy was inducted into the Naismith Memorial Basketball Hall of Fame in 1971 and honored by the Celtics, who retired his uniform number, 14. Celtics owner Walter Brown said: "The Celtics wouldn't be here without him [Cousy]. He made basketball in this town. If he had played in New York he would have been the biggest thing since [New York Yankees baseball legend] Babe Ruth. I think he is anyway." In addition, on May 11, 2006, ESPN.com rated Cousy as the fifth-greatest point guard of all time, lauding him as "ahead of his time with his ballhandling and passing skills" and pointing out he is one of only seven point guards ever to win an NBA Most Valuable Player award. On November 16, 2008, Cousy's college uniform number, 17, was hoisted to the Hart Center rafters. During halftime of a game between the Holy Cross Crusaders and St. Joseph's Hawks, the uniform numbers of Cousy, George Kaftan, Togo Palazzi, and Tommy Heinsohn became the first to hang from the gymnasium's ceiling. On July 1, 2019, Cousy advised The Boston Globe that he had received an official letter notifying him that he would receive the Presidential Medal of Freedom from President Donald Trump on August 22, 2019. He received the medal at a ceremony in the Oval Office. A statue of Cousy was installed outside the DCU Center in Worcester, Massachusetts, in 2021. Personal life Cousy married his college sweetheart, Missie Ritterbusch, in December 1950, six months after he graduated from Holy Cross. They lived in Worcester, Massachusetts, and had two daughters. His wife died on September 20, 2013, after suffering from dementia for several years. Cousy was well-known, both on and off the court, for his public stance against racism, a result of his upbringing in a multicultural environment. In 1950, the Celtics played a game in the then-segregated city of Charlotte, North Carolina, and teammate Chuck Cooper—the first African-American in NBA history to be drafted—would have been denied a hotel room. Instead of taking the hotel room, Cousy insisted on travelling with Cooper on an uncomfortable overnight train. He described their visit to a segregated men's toilet—Cooper was prohibited from using the clean "for whites" bathroom and had to use the shabby "for colored" facility—as one of the most shameful experiences of his life. He also sympathized with the plight of black Celtics star Bill Russell, who was frequently a victim of racism. Cousy was close to his Celtics mentor, head coach Red Auerbach, and was one of the few permitted to call him "Arnold", his given name, instead of his nickname "Red". See also List of athletes who came out of retirement List of National Basketball Association career assists leaders List of National Basketball Association career free throw scoring leaders List of National Basketball Association career playoff assists leaders List of National Basketball Association players with most assists in a game List of National Basketball Association single-game playoff scoring leaders References External links Bob Cousy on nba.com 1928 births Living people All-American college men's basketball players American men's basketball players American people of French descent American sports announcers Andrew Jackson High School (Queens) alumni Basketball coaches from New York (state) Basketball players at the 1947 NCAA Final Four Basketball players at the 1948 NCAA Final Four Basketball players from New York City Basketball players from Worcester, Massachusetts Boston Celtics announcers Boston Celtics players Boston College Eagles men's basketball coaches Cincinnati Royals head coaches Cincinnati Royals players College men's basketball head coaches in the United States Holy Cross Crusaders men's basketball players Kansas City-Omaha Kings head coaches Kansas City Kings head coaches Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association broadcasters National Basketball Association players with retired numbers National Basketball Players Association presidents People from St. Albans, Queens People from Yorkville, Manhattan Player-coaches Point guards Presidential Medal of Freedom recipients Sportspeople from Manhattan Tri-Cities Blackhawks draft picks	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" ]
[ "Alaska Natives", "ANCSA and since (1971 to present)" ]	C_ea76d8cb68544f4eba487ac9acc63b00_0	What is the ANSCA?	1	What is the ANSCA?	Alaska Natives	In 1971 the United States Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the peoples had lost to European Americans. It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the US government in a different historic period than indigenous peoples in the colonies and early federal period. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries, when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. CANNOTANSWER	Alaska Native Claims Settlement Act (ANCSA),	Alaska Natives or Alaskan Natives are indigenous peoples of Alaska and include Iñupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of Alaska Natives migrated into the area thousands of years ago, in at least two different waves. Some are descendants of the third wave of migration, in which people settled across the northern part of North America. They never migrated to southern areas. For this reason, genetic studies show they are not closely related to native peoples in South America. Alaska Natives came from Asia. Anthropologists have stated that their journey from Asia to Alaska was made possible through the Bering land bridge or by traveling through the sea. Throughout the Arctic and the circumpolar north, the ancestors of Alaska Natives established varying indigenous, complex cultures that have succeeded each other over time. They developed sophisticated ways to deal with the challenging climate and environment. Historic groups have been defined by their languages, which belong to several major language families. Today, Alaska Natives constitute more than 15% of the population of Alaska. List of peoples Below is a full list of the different Alaska Native peoples, who are largely defined by their historic languages (within each culture are different tribes): Ancient Beringian Alaskan Athabaskans Ahtna Deg Hit'an Dena'ina Gwich'in Hän Holikachuk Koyukon Lower Tanana Tanacross Upper Tanana Upper Kuskokwim (Kolchan) Eyak Tlingit Haida Tsimshian Eskimo Iñupiat, an Inuit group Yupik Siberian Yupik Yup'ik Cup'ik Nunivak Cup'ig Sugpiaq ~ Alutiiq Chugach Sugpiaq Koniag Alutiiq Aleut (Unangan) Demographics The Alaska Natives Commission estimated there were about 86,000 Alaska Natives living in Alaska in 1990, with another 17,000 who lived outside Alaska. A 2013 study by the Alaska Department of Labor and Workforce Development documented more than 120,000 Alaska Native people in Alaska. While the majority of Alaska Natives live in small villages or remote regional hubs such as Nome, Dillingham, and Bethel, the percentage who live in urban areas has been increasing. In 2010, 44% lived in urban areas, compared to 38% in the 2000 census. As of 2018, natives constitute 15.4% of the overall Alaskan population. History The modern history of Alaskan natives begins with the arrival of Europeans. Unusually for North America, Russians sailing from Siberia in the eighteenth century were the first to make contact. British and American traders, coming mostly from eastern settlements in North America, generally did not reach the area until the nineteenth century. In some cases, Christian missionaries were not active in Alaska until the twentieth century. Russian colonial period During an expedition, Vitus Bering spotted Alaska. Alaskan Natives first came into contact with Russians in the 18th century. Time of contact with Russians varied throughout each native group since the Alaskan natives groups were spread throughout Alaska. Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives in what became known as the Aleutian Islands. They started new settlements around trading posts, and Russian Orthodox missionaries were part of these. The Russian missionaries were the first persons to translate Christian scripture into Native languages, such as Tlingit. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska reflect this early history, as they are generally composed mostly of Alaska Natives. Rather than hunting and harvesting marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased. They forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. The growing competition between the trading companies, which merged into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives. As the animal populations declined, the Aleuts, already dependent on the new barter economy created by their fur trade with the Russians, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many. They also destroyed the peoples' boats and hunting gear, leaving them no means of survival. The greatest mortality was caused by the Aleuts' encounters with new diseases: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These had been endemic among the Europeans for centuries, but the Aleut had no immunity against the new diseases. Effects of Russian colonization The Russian Tsarist government expanded into Indigenous territory in present-day Alaska for its own geopolitical reasons. It consumed natural resources of the territory during the trading years, and Russian Orthodoxy was evangelized. Their movement into these populated areas of Indigenous communities altered the demographic and natural landscape. Historians have suggested that the Russian-American Company exploited Indigenous peoples as a source of inexpensive labor. The Russian-American Company not only used Indigenous populations for labor during the fur trade, but also held some as hostages to acquire iasak. Iasak, a form of taxation imposed by the Russians, was a tribute in the form of otter pelts. It was a taxation method the Russians had previously found useful in their early encounter with Indigenous communities of Siberia during the Siberian fur trade. Beaver pelts were also customary to be given to fur traders upon first contact with various communities. The Russian-American Company used military force on Indigenous families, taking them as hostage until male community members produced furs for them. Otter furs on Kodiak Island and Aleutian Islands enticed the Russians to start these taxations. Robbery and maltreatment in the form of corporal punishment and the withholding of food was also present upon the arrival of fur traders. Catherine the Great dissolved the giving of tribute in 1799, but her government initiated mandatory conscription of Indigenous men between the ages of 18 to 50 to become seal hunters strictly for the Russian American Company. This mandatory labor gave the Russian American Company an edge in competition with American and British fur traders. But the conscription separated men from their families and villages, thus altering and breaking down communities. With able-bodied men away on the hunt, villages were left with little protection as only women, children, and the elderly remained behind. In addition to changes that came with conscription, the spread of disease also altered the populations of Indigenous communities. Although records kept in the period were scarce, it has been said that 80% of the pre-contact population of the Aleut people were gone by 1800. Relationships between Indigenous women and fur traders increased as Indigenous men were away from villages. This resulted in marriages and children that would come to be known as Creole peoples, children who were Indigenous and Russian. To reduce hostilities with Aleutian communities, it became policy for fur traders to enter into marriage with Indigenous women. The Creole population increased in the territory controlled by the Russian American Company. The growth of the Russian Orthodox Church was another important tactic in the colonization and conversion of Indigenous populations. Ioann Veniaminov, who later became Saint Innocent of Alaska, was an important missionary who carried out the Orthodox Church's agenda to Christianize Indigenous populations. The church encouraged Creole children to follow Russian Orthodox Christianity, while the Russian American Company provided them with an education. Creole people were believed to have high levels of loyalty toward the Russian crown and Russian American Company. After completing their education, children were often sent to Russia, where they would study skills such as mapmaking, theology, and military intelligence. In the 1850's Russia lost much of its interest on Alaska. American colonialism Alaska has many natural resources. Alaska's natural resources along with its gold caught the attention of the United States. In 1867, the United States purchased Alaska from Russia. It did not consider the wishes of Alaska Natives or view them as citizens. The land that belonged to Alaska Natives was considered to be "open land", which could be claimed by white settlers without redress to the Alaska Natives living there. The only schools for Alaska Natives were those founded by religious missionaries. Most white settlers did not understand the sophisticated cultures the Alaska Natives had developed to live in that challenging place and considered them to be inferior to European Americans. The Americans imposed racial segregation and what were effectively Jim Crow laws applied against the Alaska Natives and treating them as second-class residents. Since Jim Crow law were imposed, it led to segregation amongst Alaskan Natives and Americans. Buildings would even have signs saying that no natives were allowed. There was also segregated schools. In 1880, there was a court case where a child was not allowed to attend a school with Americans because his step father was native. A child that was part native and part American would only be allowed to attend a school with American children if the family has abandoned their culture. This means that they could no longer speak their native language, wear traditional native clothing, be amongst other natives, eat native foods, or practice any native religion. In 1912, the Alaska Native Brotherhood (ANB) was formed to help fight for citizenship rights. The Alaska Native Sisterhood (ANS) was created in 1915. Also in 1915, the Alaska Territorial legislature passed a law allowing Alaskan Natives the right to vote - but on the condition that they give up their cultural customs and traditions. The Indian Citizenship Act, passed in 1924, gave all Native Americans United States citizenship. ANB began to hold a great deal of political power in the 1920s. They protested the segregation of Alaska Natives in public areas and institutions, and also staged boycotts. Alberta Schenck (Inupiaq) staged a well-publicized protest against segregation in a movie theater in 1944. With the help of Elizabeth Peratrovich (Tlingit), the Alaska Equal Rights Act of 1945 was passed, ending segregation in Alaska. In 1942, during World War II, the United States forced evacuation of around nine hundred Aleuts from the Aleutian Islands. The idea was to remove the Aleuts from a potential combat zone during World War II for their own protection, but European Americans living in the same area were not forced to leave. The removal was handled so poorly that many Aleuts died after they were evacuated; the elderly and children had the highest mortality rates. Survivors returned to the islands to find their homes and possessions destroyed or looted. Alaska became part of the United States in 1959 upon President Dwight D. Eisenhower recognizing Alaska as the 49th state. ANCSA and since (1971 to present) In 1971, with the support of Alaska Native leaders such as Emil Notti, Willie Hensley, and Byron Mallot, the U.S. Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the Alaska Natives had lost to European-Americans. It provided for the establishment of thirteen Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the U.S. government which occurred in a different historic period than its interactions during the period of westward expansion during the 19th-century. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. Climate Change Four indigenous tribes in Alaska, the Shishmaref, Kivalina, Shaktoolik and Newtok tribes, are being considered the first climate refugees for America, due to sea ice melting and increased wildfires in the regions (Bronen and Brubaker). The effects of climate change on the people of Alaska are extensive and include issues such as increased vulnerability to disease, mental health issues, injury, food insecurity, and water insecurity (Brubaker). According to the Environmental Protection Agency (EPA), the loss of sea ice will increase erosion area and further displace more native communities. The melting sea ice will also affect the migration of some animals that the tribes rely on and with the ice melting there will be no place to store the food that they do obtain (EPA). Due to the permafrost melting, the infrastructure that has been around in the past will become unstable and native villages will collapse (EPA). The Shishmaref, Kivalina, Shaktoolik and Newtok tribes are located on the west coast of Alaska and due to sea-level rise the villages are experiencing more severe storm surges that are eroding their coastlines (Bronen). There is no land for these tribes to move to that are already in the area they live in which forces these communities to migrate and change their whole way of living (Bronen). Governments are lacking in response to climate refugees, there are no policies in place to determine where these refugees should go or if they get aid to pay for the cost of traveling (Bronen). It is predicted that a climate event will submerge the tribes completely in less than fifteen years (Bronen). Extreme weather conditions has increased the risk of injury, usually there are thick layers of ice all year long but due to increasing temperatures in the atmosphere and the sea the ice in becoming thinner and is increasing the number of people who fall through the ice, if a person survives falling through the ice they are faced with other health concerns (Brubaker). Increased water insecurity and failing infrastructure caused by climate change has created sanitation issues which has increased the amount of respiratory illnesses in many regions in Alaska, in 2005 pneumonia was the leading cause of hospitalizations (Brubaker). Many of the affected tribes are experiencing increased mental stress due to climate change and the problem of relocating but no policy or way to relocate (Brubaker). Stress has also increased on villages who face infrastructure damage due to melting permafrost, there are almost no regulations other than the Alaskan government recommended not building on permafrost or using extra layers of insulation that is used on foundation walls (EPA). Food insecurity has also created stress and health issues, families can not get enough food due to animals also relocating to get to a climate that is more suitable to them (Brubaker). Families also do not have a secure food system because their ways of storing food, underground ice cellar, are no longer frozen year long due to climate change, their cellars thaw in the summers leaving their food supply inedible (Brubaker). Subsistence Gathering of subsistence food continues to be an important economic and cultural activity for many Alaska Natives. In Utqiaġvik, Alaska in 2005, more than 91 percent of the Iñupiat households which were interviewed still participated in the local subsistence economy, compared with the approximately 33 percent of non-Iñupiat households who used wild resources obtained from hunting, fishing, or gathering. But, unlike many tribes in the contiguous United States, Alaska Natives do not have treaties with the United States that protect their subsistence rights, except for the right to harvest whales and other marine mammals. The Alaska Native Claims Settlement Act explicitly extinguished aboriginal hunting and fishing rights in the state of Alaska. See also Ancient Beringian List of Alaska Native Tribal Entities, the list of Native Villages and other "tribal entities" recognized by the US Bureau of Indian Affairs. Prehistory of Alaska First Alaskans Institute Indigenous Amerindian genetics Circumpolar peoples Indigenous peoples of the Pacific Northwest Coast Indigenous peoples of the Subarctic Indigenous peoples of Siberia Alaska Native Storytelling Alaska Equal Rights Act of 1945 Shamanism among Alaska Natives Women's suffrage in Alaska References Sources Further reading Chythlook-Sifsof, Callan J. "Native Alaska, Under Threat." (Op-Ed) The New York Times. June 27, 2013. External links Alaska Federation of Natives Alaska Native Health Board Alaska Native Heritage Center Alaska Native Language Center First Alaskans Institute Tlingit National Anthem, Alaska Natives Online Arctic Studies Center American culture	true	[ "Solar2D (formerly Corona SDK) is a free and open-source, cross-platform software development kit originally developed by Corona Labs Inc. and now maintained by Vlad Shcherban. Released in late 2009, it allows software programmers to build 2D mobile applications for iOS, Android, and Kindle, desktop applications for Windows, Linux and macOS, and connected TV applications for Apple TV, Fire TV and Android TV.\n\nSolar2D uses integrated Lua layered on top of C++/OpenGL to build graphic applications. The software has two operational modes: the Solar2D Simulator and Solar2D Native. With the Solar2D Simulator, apps are built directly from the Solar2D Simulator. Solar2D Native allows you to integrate your Lua code and assets within an Xcode or Android Studio project to build your app and include native features.\n\nHistory\nWalter Luh and Carlos Icaza started Ansca Mobile, later renamed Corona Labs, after departing from Adobe in 2007. At Adobe, Luh was the lead architect working on the Flash Lite team and Icaza was the engineering manager responsible for mobile Flash authoring. In June 2009, Ansca released the first Corona SDK beta free for early adopters.\n\nIn December 2009, Ansca launched Corona SDK 1.0 for iPhone. The following February, the Corona SDK 1.1 was released with additional features.\n\nIn September 2010, Ansca released version 2.0 of Corona SDK and added Corona Game Edition. Version 2.0 added cross-platform support for iPad and Android, while Game Edition added a physics engine and other advanced features aimed specifically at game development.\n\nIn January 2011, Corona SDK was released for Windows XP and newer, giving developers the opportunity to build Android applications on PC.\n\nIn April 2012, co-founder and CEO Icaza left Ansca, and CTO Luh took the CEO role. Shortly after, in June 2012, Ansca changed its name to Corona Labs. In August 2012, Corona Labs announced Enterprise Edition, which added native bindings for Objective-C.\n\nIn March 2015, during GDC 2015 announcement was made that Corona SDK is completely free and will support Windows and Mac OS X deployment targets.\n\nIn November 2015, Corona Labs Inc. announced support for tvOS development for Apple TV.\n\nIn March 2017, Corona Labs was acquired by Appodeal and announced that the Enterprise version of Corona would also become free.\n\nIn June 2017, Corona Labs announced that Enterprise was renamed to Corona Native, is free for everyone and included as part of the core product.\"\n\nIn January 2019, Corona Labs announced that Corona 2D will be open sourced under the GNU GPLv3 license, while offering the option of a commercial license upon agreement with Corona Labs.\n\nIn April 2020, the engine was renamed from Corona SDK to Solar2D. This was done in response to the closure of Corona Labs, as well as the COVID-19 pandemic. Corona Labs also stopped offering commercial licenses and changed its open source license from GPLv3 to the more permissive MIT License.\n\nMajor features\nSolar2D's API suite features API calls for audio and graphics, cryptography, networking and device information such as accelerometer information, GPS, and user input as well as widgets, particle effects, and more.\n\nBibliography\n\nReferences\n\nExternal links\n Solar2d's official website\n Corona Labs website\n \n\n2009 software\nAndroid (operating system) development software\nFormerly proprietary software\nIntegrated development environments\nIPhone video game engines\nLua (programming language)-scriptable game engines\nMacOS programming tools\nMobile software\nMobile software programming tools\nVideo game development software\nSoftware development kits\nSoftware using the MIT license", "Corona Labs Inc., formerly Ansca Mobile, was a California software company building a 2D game and app development platform. Its main offering was the Corona SDK, a cross-platform mobile development framework that builds native apps for iOS, Android, Kindle, Windows Phone, tvOS, Android TV and Mac and Windows desktop from a single code base. The company closed on May 1st 2020.\n\nCompany history\n\nCorona Labs was founded as Ansca Mobile in 2008 by Carlos Icaza, previously the manager for such projects as Adobe's Flash Lite, Flash Mobile Authoring, Flash Cast and Adobe Illustrator, and Walter Luh, a lead architect in Adobe's Flash Lite team. In late 2009, Ansca secured $1 Million in Series A funding from Merus Capital, a venture capital firm founded by former Google and Microsoft executives.\n\nIn December 2009, Ansca released the first version, Corona SDK, initially supporting iOS. In April 2010, they expanded support for the Android operating system. In 2011 Corona began supporting development for Amazon's Kindle Fire and the Barnes & Noble Nook.\n\nIn April 2012, CEO Icaza departed the company for personal reasons and CTO Luh took over the CEO role, and shortly after, in June of the same year, Ansca changed its name to Corona Labs.\n\nIn August 2012, Corona Labs introduced Corona Enterprise which allows developers to integrate any native Objective-C and Java library. Shortly after, in November of the same year, Corona Labs received $2 million in capital from Merus Capital and Western Technology Investment. In April 2013, Corona Labs expanded the company's product offerings with the launch of Corona SDK Starter, a free mobile development solution.\n\nFuse Powered acquisition \nIn November 2014, Fuse Powered Inc. acquired Corona Labs.\n\nThe move is both a response to and a driver of competitive consolidation that is sweeping through the game monetization industry. Companies that grew up with one service, such as analytics, are finding that their customers want them to offer more than that. In similar moves, rival Unity Technologies acquired game services companies Playnomics and Applifier and Kontagent and PlayHaven merged to form Upsight.\n\n“Over the past five years, we’ve built a very strong development platform and community,” said Walter Luh, the CEO of Corona Labs, in a statement. “In Fuse, we’ve found another company with the same vision to help mobile publishers make more successful games more easily. We will continue to build on the world-class Corona platform, and now our developers will also have amazing monetization and publishing tools at their disposal, with even more to come.”\n\nPerk Inc. acquisition \nIn December 2015, Perk.com Inc., a rewards program platform company, acquired Corona Labs for $2.3 Million.\n\nOn September 15, 2016, Perk sold Corona Labs Inc to co-founder Roj Niyogi.\n\nOn December 19, 2016, retired their ad platform, Corona Ads, announced a subscription based ad plugin model on its product with announcement of the Corona Professional Bundle.\n\n\"Corona Ads was initiated earlier this year as an alternative to limited ad-based monetization options at the time. Since its conception, we’ve added numerous monetization options to the Corona Marketplace that we believe are strong solutions for Corona developers — these include popular networks like AppLovin, mediation providers like Appodeal, and child-friendly providers like KIDOZ and SuperAwesome, making Corona the leader in easy-to-implement monetization solutions.\"\n\nAppodeal acquisition \nOn March 16, 2017, Appodeal, an aggrogate ad platform company, announced that it has acquired Corona Labs. The financial terms of the acquisition were not disclosed.\n\nIn February 2020, the company announced their closure with their product released under an open source license.\n\nUsers\n\nOver 800,000 developers used Corona SDK, including the 14-year-old creator of the Bubble Ball game for iOS and the 84-year-old creator of Dabble.\n\nBibliography\n\nReferences\n\nExternal links\n Corona Labs Inc (Official Website)\n\nSoftware companies based in California\nCompanies based in Palo Alto, California\n2008 establishments in California\nSoftware companies of the United States" ]
[ "Alaska Natives", "ANCSA and since (1971 to present)", "What is the ANSCA?", "Alaska Native Claims Settlement Act (ANCSA)," ]	C_ea76d8cb68544f4eba487ac9acc63b00_0	What did it do?	2	What did ANSCA do?	Alaska Natives	In 1971 the United States Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the peoples had lost to European Americans. It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the US government in a different historic period than indigenous peoples in the colonies and early federal period. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries, when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. CANNOTANSWER	settled land and financial claims for lands and resources which the peoples had lost to European Americans.	Alaska Natives or Alaskan Natives are indigenous peoples of Alaska and include Iñupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of Alaska Natives migrated into the area thousands of years ago, in at least two different waves. Some are descendants of the third wave of migration, in which people settled across the northern part of North America. They never migrated to southern areas. For this reason, genetic studies show they are not closely related to native peoples in South America. Alaska Natives came from Asia. Anthropologists have stated that their journey from Asia to Alaska was made possible through the Bering land bridge or by traveling through the sea. Throughout the Arctic and the circumpolar north, the ancestors of Alaska Natives established varying indigenous, complex cultures that have succeeded each other over time. They developed sophisticated ways to deal with the challenging climate and environment. Historic groups have been defined by their languages, which belong to several major language families. Today, Alaska Natives constitute more than 15% of the population of Alaska. List of peoples Below is a full list of the different Alaska Native peoples, who are largely defined by their historic languages (within each culture are different tribes): Ancient Beringian Alaskan Athabaskans Ahtna Deg Hit'an Dena'ina Gwich'in Hän Holikachuk Koyukon Lower Tanana Tanacross Upper Tanana Upper Kuskokwim (Kolchan) Eyak Tlingit Haida Tsimshian Eskimo Iñupiat, an Inuit group Yupik Siberian Yupik Yup'ik Cup'ik Nunivak Cup'ig Sugpiaq ~ Alutiiq Chugach Sugpiaq Koniag Alutiiq Aleut (Unangan) Demographics The Alaska Natives Commission estimated there were about 86,000 Alaska Natives living in Alaska in 1990, with another 17,000 who lived outside Alaska. A 2013 study by the Alaska Department of Labor and Workforce Development documented more than 120,000 Alaska Native people in Alaska. While the majority of Alaska Natives live in small villages or remote regional hubs such as Nome, Dillingham, and Bethel, the percentage who live in urban areas has been increasing. In 2010, 44% lived in urban areas, compared to 38% in the 2000 census. As of 2018, natives constitute 15.4% of the overall Alaskan population. History The modern history of Alaskan natives begins with the arrival of Europeans. Unusually for North America, Russians sailing from Siberia in the eighteenth century were the first to make contact. British and American traders, coming mostly from eastern settlements in North America, generally did not reach the area until the nineteenth century. In some cases, Christian missionaries were not active in Alaska until the twentieth century. Russian colonial period During an expedition, Vitus Bering spotted Alaska. Alaskan Natives first came into contact with Russians in the 18th century. Time of contact with Russians varied throughout each native group since the Alaskan natives groups were spread throughout Alaska. Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives in what became known as the Aleutian Islands. They started new settlements around trading posts, and Russian Orthodox missionaries were part of these. The Russian missionaries were the first persons to translate Christian scripture into Native languages, such as Tlingit. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska reflect this early history, as they are generally composed mostly of Alaska Natives. Rather than hunting and harvesting marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased. They forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. The growing competition between the trading companies, which merged into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives. As the animal populations declined, the Aleuts, already dependent on the new barter economy created by their fur trade with the Russians, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many. They also destroyed the peoples' boats and hunting gear, leaving them no means of survival. The greatest mortality was caused by the Aleuts' encounters with new diseases: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These had been endemic among the Europeans for centuries, but the Aleut had no immunity against the new diseases. Effects of Russian colonization The Russian Tsarist government expanded into Indigenous territory in present-day Alaska for its own geopolitical reasons. It consumed natural resources of the territory during the trading years, and Russian Orthodoxy was evangelized. Their movement into these populated areas of Indigenous communities altered the demographic and natural landscape. Historians have suggested that the Russian-American Company exploited Indigenous peoples as a source of inexpensive labor. The Russian-American Company not only used Indigenous populations for labor during the fur trade, but also held some as hostages to acquire iasak. Iasak, a form of taxation imposed by the Russians, was a tribute in the form of otter pelts. It was a taxation method the Russians had previously found useful in their early encounter with Indigenous communities of Siberia during the Siberian fur trade. Beaver pelts were also customary to be given to fur traders upon first contact with various communities. The Russian-American Company used military force on Indigenous families, taking them as hostage until male community members produced furs for them. Otter furs on Kodiak Island and Aleutian Islands enticed the Russians to start these taxations. Robbery and maltreatment in the form of corporal punishment and the withholding of food was also present upon the arrival of fur traders. Catherine the Great dissolved the giving of tribute in 1799, but her government initiated mandatory conscription of Indigenous men between the ages of 18 to 50 to become seal hunters strictly for the Russian American Company. This mandatory labor gave the Russian American Company an edge in competition with American and British fur traders. But the conscription separated men from their families and villages, thus altering and breaking down communities. With able-bodied men away on the hunt, villages were left with little protection as only women, children, and the elderly remained behind. In addition to changes that came with conscription, the spread of disease also altered the populations of Indigenous communities. Although records kept in the period were scarce, it has been said that 80% of the pre-contact population of the Aleut people were gone by 1800. Relationships between Indigenous women and fur traders increased as Indigenous men were away from villages. This resulted in marriages and children that would come to be known as Creole peoples, children who were Indigenous and Russian. To reduce hostilities with Aleutian communities, it became policy for fur traders to enter into marriage with Indigenous women. The Creole population increased in the territory controlled by the Russian American Company. The growth of the Russian Orthodox Church was another important tactic in the colonization and conversion of Indigenous populations. Ioann Veniaminov, who later became Saint Innocent of Alaska, was an important missionary who carried out the Orthodox Church's agenda to Christianize Indigenous populations. The church encouraged Creole children to follow Russian Orthodox Christianity, while the Russian American Company provided them with an education. Creole people were believed to have high levels of loyalty toward the Russian crown and Russian American Company. After completing their education, children were often sent to Russia, where they would study skills such as mapmaking, theology, and military intelligence. In the 1850's Russia lost much of its interest on Alaska. American colonialism Alaska has many natural resources. Alaska's natural resources along with its gold caught the attention of the United States. In 1867, the United States purchased Alaska from Russia. It did not consider the wishes of Alaska Natives or view them as citizens. The land that belonged to Alaska Natives was considered to be "open land", which could be claimed by white settlers without redress to the Alaska Natives living there. The only schools for Alaska Natives were those founded by religious missionaries. Most white settlers did not understand the sophisticated cultures the Alaska Natives had developed to live in that challenging place and considered them to be inferior to European Americans. The Americans imposed racial segregation and what were effectively Jim Crow laws applied against the Alaska Natives and treating them as second-class residents. Since Jim Crow law were imposed, it led to segregation amongst Alaskan Natives and Americans. Buildings would even have signs saying that no natives were allowed. There was also segregated schools. In 1880, there was a court case where a child was not allowed to attend a school with Americans because his step father was native. A child that was part native and part American would only be allowed to attend a school with American children if the family has abandoned their culture. This means that they could no longer speak their native language, wear traditional native clothing, be amongst other natives, eat native foods, or practice any native religion. In 1912, the Alaska Native Brotherhood (ANB) was formed to help fight for citizenship rights. The Alaska Native Sisterhood (ANS) was created in 1915. Also in 1915, the Alaska Territorial legislature passed a law allowing Alaskan Natives the right to vote - but on the condition that they give up their cultural customs and traditions. The Indian Citizenship Act, passed in 1924, gave all Native Americans United States citizenship. ANB began to hold a great deal of political power in the 1920s. They protested the segregation of Alaska Natives in public areas and institutions, and also staged boycotts. Alberta Schenck (Inupiaq) staged a well-publicized protest against segregation in a movie theater in 1944. With the help of Elizabeth Peratrovich (Tlingit), the Alaska Equal Rights Act of 1945 was passed, ending segregation in Alaska. In 1942, during World War II, the United States forced evacuation of around nine hundred Aleuts from the Aleutian Islands. The idea was to remove the Aleuts from a potential combat zone during World War II for their own protection, but European Americans living in the same area were not forced to leave. The removal was handled so poorly that many Aleuts died after they were evacuated; the elderly and children had the highest mortality rates. Survivors returned to the islands to find their homes and possessions destroyed or looted. Alaska became part of the United States in 1959 upon President Dwight D. Eisenhower recognizing Alaska as the 49th state. ANCSA and since (1971 to present) In 1971, with the support of Alaska Native leaders such as Emil Notti, Willie Hensley, and Byron Mallot, the U.S. Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the Alaska Natives had lost to European-Americans. It provided for the establishment of thirteen Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the U.S. government which occurred in a different historic period than its interactions during the period of westward expansion during the 19th-century. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. Climate Change Four indigenous tribes in Alaska, the Shishmaref, Kivalina, Shaktoolik and Newtok tribes, are being considered the first climate refugees for America, due to sea ice melting and increased wildfires in the regions (Bronen and Brubaker). The effects of climate change on the people of Alaska are extensive and include issues such as increased vulnerability to disease, mental health issues, injury, food insecurity, and water insecurity (Brubaker). According to the Environmental Protection Agency (EPA), the loss of sea ice will increase erosion area and further displace more native communities. The melting sea ice will also affect the migration of some animals that the tribes rely on and with the ice melting there will be no place to store the food that they do obtain (EPA). Due to the permafrost melting, the infrastructure that has been around in the past will become unstable and native villages will collapse (EPA). The Shishmaref, Kivalina, Shaktoolik and Newtok tribes are located on the west coast of Alaska and due to sea-level rise the villages are experiencing more severe storm surges that are eroding their coastlines (Bronen). There is no land for these tribes to move to that are already in the area they live in which forces these communities to migrate and change their whole way of living (Bronen). Governments are lacking in response to climate refugees, there are no policies in place to determine where these refugees should go or if they get aid to pay for the cost of traveling (Bronen). It is predicted that a climate event will submerge the tribes completely in less than fifteen years (Bronen). Extreme weather conditions has increased the risk of injury, usually there are thick layers of ice all year long but due to increasing temperatures in the atmosphere and the sea the ice in becoming thinner and is increasing the number of people who fall through the ice, if a person survives falling through the ice they are faced with other health concerns (Brubaker). Increased water insecurity and failing infrastructure caused by climate change has created sanitation issues which has increased the amount of respiratory illnesses in many regions in Alaska, in 2005 pneumonia was the leading cause of hospitalizations (Brubaker). Many of the affected tribes are experiencing increased mental stress due to climate change and the problem of relocating but no policy or way to relocate (Brubaker). Stress has also increased on villages who face infrastructure damage due to melting permafrost, there are almost no regulations other than the Alaskan government recommended not building on permafrost or using extra layers of insulation that is used on foundation walls (EPA). Food insecurity has also created stress and health issues, families can not get enough food due to animals also relocating to get to a climate that is more suitable to them (Brubaker). Families also do not have a secure food system because their ways of storing food, underground ice cellar, are no longer frozen year long due to climate change, their cellars thaw in the summers leaving their food supply inedible (Brubaker). Subsistence Gathering of subsistence food continues to be an important economic and cultural activity for many Alaska Natives. In Utqiaġvik, Alaska in 2005, more than 91 percent of the Iñupiat households which were interviewed still participated in the local subsistence economy, compared with the approximately 33 percent of non-Iñupiat households who used wild resources obtained from hunting, fishing, or gathering. But, unlike many tribes in the contiguous United States, Alaska Natives do not have treaties with the United States that protect their subsistence rights, except for the right to harvest whales and other marine mammals. The Alaska Native Claims Settlement Act explicitly extinguished aboriginal hunting and fishing rights in the state of Alaska. See also Ancient Beringian List of Alaska Native Tribal Entities, the list of Native Villages and other "tribal entities" recognized by the US Bureau of Indian Affairs. Prehistory of Alaska First Alaskans Institute Indigenous Amerindian genetics Circumpolar peoples Indigenous peoples of the Pacific Northwest Coast Indigenous peoples of the Subarctic Indigenous peoples of Siberia Alaska Native Storytelling Alaska Equal Rights Act of 1945 Shamanism among Alaska Natives Women's suffrage in Alaska References Sources Further reading Chythlook-Sifsof, Callan J. "Native Alaska, Under Threat." (Op-Ed) The New York Times. June 27, 2013. External links Alaska Federation of Natives Alaska Native Health Board Alaska Native Heritage Center Alaska Native Language Center First Alaskans Institute Tlingit National Anthem, Alaska Natives Online Arctic Studies Center American culture	false	[ "\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)", "\"What Would Steve Do?\" is the second single released by Mumm-Ra on Columbia Records, which was released on February 19, 2007. It is a re-recorded version of the self-release they did in April 2006. It reached #40 in the UK Singles Chart, making it their highest charting single.\n\nTrack listings\nAll songs written by Mumm-Ra.\n\nCD\n\"What Would Steve Do?\"\n\"Cute As\"\n\"Without You\"\n\n7\"\n\"What Would Steve Do?\"\n\"What Would Steve Do? (Floorboard Mix)\"\n\nGatefold 7\"\n\"What Would Steve Do?\"\n\"Cute As\"\n\nReferences\n\n2007 singles\nMumm-Ra (band) songs\n2006 songs\nColumbia Records singles" ]
[ "Alaska Natives", "ANCSA and since (1971 to present)", "What is the ANSCA?", "Alaska Native Claims Settlement Act (ANCSA),", "What did it do?", "settled land and financial claims for lands and resources which the peoples had lost to European Americans." ]	C_ea76d8cb68544f4eba487ac9acc63b00_0	Did it do anything else for the Natives?	3	Did ANSCA do anything else for the Natives besides the settled land and financial claims for lands and resources?	Alaska Natives	In 1971 the United States Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the peoples had lost to European Americans. It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the US government in a different historic period than indigenous peoples in the colonies and early federal period. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries, when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. CANNOTANSWER	It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims.	Alaska Natives or Alaskan Natives are indigenous peoples of Alaska and include Iñupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of Alaska Natives migrated into the area thousands of years ago, in at least two different waves. Some are descendants of the third wave of migration, in which people settled across the northern part of North America. They never migrated to southern areas. For this reason, genetic studies show they are not closely related to native peoples in South America. Alaska Natives came from Asia. Anthropologists have stated that their journey from Asia to Alaska was made possible through the Bering land bridge or by traveling through the sea. Throughout the Arctic and the circumpolar north, the ancestors of Alaska Natives established varying indigenous, complex cultures that have succeeded each other over time. They developed sophisticated ways to deal with the challenging climate and environment. Historic groups have been defined by their languages, which belong to several major language families. Today, Alaska Natives constitute more than 15% of the population of Alaska. List of peoples Below is a full list of the different Alaska Native peoples, who are largely defined by their historic languages (within each culture are different tribes): Ancient Beringian Alaskan Athabaskans Ahtna Deg Hit'an Dena'ina Gwich'in Hän Holikachuk Koyukon Lower Tanana Tanacross Upper Tanana Upper Kuskokwim (Kolchan) Eyak Tlingit Haida Tsimshian Eskimo Iñupiat, an Inuit group Yupik Siberian Yupik Yup'ik Cup'ik Nunivak Cup'ig Sugpiaq ~ Alutiiq Chugach Sugpiaq Koniag Alutiiq Aleut (Unangan) Demographics The Alaska Natives Commission estimated there were about 86,000 Alaska Natives living in Alaska in 1990, with another 17,000 who lived outside Alaska. A 2013 study by the Alaska Department of Labor and Workforce Development documented more than 120,000 Alaska Native people in Alaska. While the majority of Alaska Natives live in small villages or remote regional hubs such as Nome, Dillingham, and Bethel, the percentage who live in urban areas has been increasing. In 2010, 44% lived in urban areas, compared to 38% in the 2000 census. As of 2018, natives constitute 15.4% of the overall Alaskan population. History The modern history of Alaskan natives begins with the arrival of Europeans. Unusually for North America, Russians sailing from Siberia in the eighteenth century were the first to make contact. British and American traders, coming mostly from eastern settlements in North America, generally did not reach the area until the nineteenth century. In some cases, Christian missionaries were not active in Alaska until the twentieth century. Russian colonial period During an expedition, Vitus Bering spotted Alaska. Alaskan Natives first came into contact with Russians in the 18th century. Time of contact with Russians varied throughout each native group since the Alaskan natives groups were spread throughout Alaska. Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives in what became known as the Aleutian Islands. They started new settlements around trading posts, and Russian Orthodox missionaries were part of these. The Russian missionaries were the first persons to translate Christian scripture into Native languages, such as Tlingit. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska reflect this early history, as they are generally composed mostly of Alaska Natives. Rather than hunting and harvesting marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased. They forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. The growing competition between the trading companies, which merged into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives. As the animal populations declined, the Aleuts, already dependent on the new barter economy created by their fur trade with the Russians, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many. They also destroyed the peoples' boats and hunting gear, leaving them no means of survival. The greatest mortality was caused by the Aleuts' encounters with new diseases: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These had been endemic among the Europeans for centuries, but the Aleut had no immunity against the new diseases. Effects of Russian colonization The Russian Tsarist government expanded into Indigenous territory in present-day Alaska for its own geopolitical reasons. It consumed natural resources of the territory during the trading years, and Russian Orthodoxy was evangelized. Their movement into these populated areas of Indigenous communities altered the demographic and natural landscape. Historians have suggested that the Russian-American Company exploited Indigenous peoples as a source of inexpensive labor. The Russian-American Company not only used Indigenous populations for labor during the fur trade, but also held some as hostages to acquire iasak. Iasak, a form of taxation imposed by the Russians, was a tribute in the form of otter pelts. It was a taxation method the Russians had previously found useful in their early encounter with Indigenous communities of Siberia during the Siberian fur trade. Beaver pelts were also customary to be given to fur traders upon first contact with various communities. The Russian-American Company used military force on Indigenous families, taking them as hostage until male community members produced furs for them. Otter furs on Kodiak Island and Aleutian Islands enticed the Russians to start these taxations. Robbery and maltreatment in the form of corporal punishment and the withholding of food was also present upon the arrival of fur traders. Catherine the Great dissolved the giving of tribute in 1799, but her government initiated mandatory conscription of Indigenous men between the ages of 18 to 50 to become seal hunters strictly for the Russian American Company. This mandatory labor gave the Russian American Company an edge in competition with American and British fur traders. But the conscription separated men from their families and villages, thus altering and breaking down communities. With able-bodied men away on the hunt, villages were left with little protection as only women, children, and the elderly remained behind. In addition to changes that came with conscription, the spread of disease also altered the populations of Indigenous communities. Although records kept in the period were scarce, it has been said that 80% of the pre-contact population of the Aleut people were gone by 1800. Relationships between Indigenous women and fur traders increased as Indigenous men were away from villages. This resulted in marriages and children that would come to be known as Creole peoples, children who were Indigenous and Russian. To reduce hostilities with Aleutian communities, it became policy for fur traders to enter into marriage with Indigenous women. The Creole population increased in the territory controlled by the Russian American Company. The growth of the Russian Orthodox Church was another important tactic in the colonization and conversion of Indigenous populations. Ioann Veniaminov, who later became Saint Innocent of Alaska, was an important missionary who carried out the Orthodox Church's agenda to Christianize Indigenous populations. The church encouraged Creole children to follow Russian Orthodox Christianity, while the Russian American Company provided them with an education. Creole people were believed to have high levels of loyalty toward the Russian crown and Russian American Company. After completing their education, children were often sent to Russia, where they would study skills such as mapmaking, theology, and military intelligence. In the 1850's Russia lost much of its interest on Alaska. American colonialism Alaska has many natural resources. Alaska's natural resources along with its gold caught the attention of the United States. In 1867, the United States purchased Alaska from Russia. It did not consider the wishes of Alaska Natives or view them as citizens. The land that belonged to Alaska Natives was considered to be "open land", which could be claimed by white settlers without redress to the Alaska Natives living there. The only schools for Alaska Natives were those founded by religious missionaries. Most white settlers did not understand the sophisticated cultures the Alaska Natives had developed to live in that challenging place and considered them to be inferior to European Americans. The Americans imposed racial segregation and what were effectively Jim Crow laws applied against the Alaska Natives and treating them as second-class residents. Since Jim Crow law were imposed, it led to segregation amongst Alaskan Natives and Americans. Buildings would even have signs saying that no natives were allowed. There was also segregated schools. In 1880, there was a court case where a child was not allowed to attend a school with Americans because his step father was native. A child that was part native and part American would only be allowed to attend a school with American children if the family has abandoned their culture. This means that they could no longer speak their native language, wear traditional native clothing, be amongst other natives, eat native foods, or practice any native religion. In 1912, the Alaska Native Brotherhood (ANB) was formed to help fight for citizenship rights. The Alaska Native Sisterhood (ANS) was created in 1915. Also in 1915, the Alaska Territorial legislature passed a law allowing Alaskan Natives the right to vote - but on the condition that they give up their cultural customs and traditions. The Indian Citizenship Act, passed in 1924, gave all Native Americans United States citizenship. ANB began to hold a great deal of political power in the 1920s. They protested the segregation of Alaska Natives in public areas and institutions, and also staged boycotts. Alberta Schenck (Inupiaq) staged a well-publicized protest against segregation in a movie theater in 1944. With the help of Elizabeth Peratrovich (Tlingit), the Alaska Equal Rights Act of 1945 was passed, ending segregation in Alaska. In 1942, during World War II, the United States forced evacuation of around nine hundred Aleuts from the Aleutian Islands. The idea was to remove the Aleuts from a potential combat zone during World War II for their own protection, but European Americans living in the same area were not forced to leave. The removal was handled so poorly that many Aleuts died after they were evacuated; the elderly and children had the highest mortality rates. Survivors returned to the islands to find their homes and possessions destroyed or looted. Alaska became part of the United States in 1959 upon President Dwight D. Eisenhower recognizing Alaska as the 49th state. ANCSA and since (1971 to present) In 1971, with the support of Alaska Native leaders such as Emil Notti, Willie Hensley, and Byron Mallot, the U.S. Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the Alaska Natives had lost to European-Americans. It provided for the establishment of thirteen Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the U.S. government which occurred in a different historic period than its interactions during the period of westward expansion during the 19th-century. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. Climate Change Four indigenous tribes in Alaska, the Shishmaref, Kivalina, Shaktoolik and Newtok tribes, are being considered the first climate refugees for America, due to sea ice melting and increased wildfires in the regions (Bronen and Brubaker). The effects of climate change on the people of Alaska are extensive and include issues such as increased vulnerability to disease, mental health issues, injury, food insecurity, and water insecurity (Brubaker). According to the Environmental Protection Agency (EPA), the loss of sea ice will increase erosion area and further displace more native communities. The melting sea ice will also affect the migration of some animals that the tribes rely on and with the ice melting there will be no place to store the food that they do obtain (EPA). Due to the permafrost melting, the infrastructure that has been around in the past will become unstable and native villages will collapse (EPA). The Shishmaref, Kivalina, Shaktoolik and Newtok tribes are located on the west coast of Alaska and due to sea-level rise the villages are experiencing more severe storm surges that are eroding their coastlines (Bronen). There is no land for these tribes to move to that are already in the area they live in which forces these communities to migrate and change their whole way of living (Bronen). Governments are lacking in response to climate refugees, there are no policies in place to determine where these refugees should go or if they get aid to pay for the cost of traveling (Bronen). It is predicted that a climate event will submerge the tribes completely in less than fifteen years (Bronen). Extreme weather conditions has increased the risk of injury, usually there are thick layers of ice all year long but due to increasing temperatures in the atmosphere and the sea the ice in becoming thinner and is increasing the number of people who fall through the ice, if a person survives falling through the ice they are faced with other health concerns (Brubaker). Increased water insecurity and failing infrastructure caused by climate change has created sanitation issues which has increased the amount of respiratory illnesses in many regions in Alaska, in 2005 pneumonia was the leading cause of hospitalizations (Brubaker). Many of the affected tribes are experiencing increased mental stress due to climate change and the problem of relocating but no policy or way to relocate (Brubaker). Stress has also increased on villages who face infrastructure damage due to melting permafrost, there are almost no regulations other than the Alaskan government recommended not building on permafrost or using extra layers of insulation that is used on foundation walls (EPA). Food insecurity has also created stress and health issues, families can not get enough food due to animals also relocating to get to a climate that is more suitable to them (Brubaker). Families also do not have a secure food system because their ways of storing food, underground ice cellar, are no longer frozen year long due to climate change, their cellars thaw in the summers leaving their food supply inedible (Brubaker). Subsistence Gathering of subsistence food continues to be an important economic and cultural activity for many Alaska Natives. In Utqiaġvik, Alaska in 2005, more than 91 percent of the Iñupiat households which were interviewed still participated in the local subsistence economy, compared with the approximately 33 percent of non-Iñupiat households who used wild resources obtained from hunting, fishing, or gathering. But, unlike many tribes in the contiguous United States, Alaska Natives do not have treaties with the United States that protect their subsistence rights, except for the right to harvest whales and other marine mammals. The Alaska Native Claims Settlement Act explicitly extinguished aboriginal hunting and fishing rights in the state of Alaska. See also Ancient Beringian List of Alaska Native Tribal Entities, the list of Native Villages and other "tribal entities" recognized by the US Bureau of Indian Affairs. Prehistory of Alaska First Alaskans Institute Indigenous Amerindian genetics Circumpolar peoples Indigenous peoples of the Pacific Northwest Coast Indigenous peoples of the Subarctic Indigenous peoples of Siberia Alaska Native Storytelling Alaska Equal Rights Act of 1945 Shamanism among Alaska Natives Women's suffrage in Alaska References Sources Further reading Chythlook-Sifsof, Callan J. "Native Alaska, Under Threat." (Op-Ed) The New York Times. June 27, 2013. External links Alaska Federation of Natives Alaska Native Health Board Alaska Native Heritage Center Alaska Native Language Center First Alaskans Institute Tlingit National Anthem, Alaska Natives Online Arctic Studies Center American culture	false	[ "\"If You Can Do Anything Else\" is a song written by Billy Livsey and Don Schlitz, and recorded by American country music artist George Strait. It was released in February 2001 as the third and final single from his self-titled album. The song reached number 5 on the U.S. Billboard Hot Country Singles & Tracks chart in July 2001. It also peaked at number 51 on the U.S. Billboard Hot 100.\n\nContent\nThe song is about man who is giving his woman the option to leave him. He gives her many different options for all the things she can do. At the end he gives her the option to stay with him if she really can’t find anything else to do. He says he will be alright if she leaves, but really it seems he wants her to stay.\n\nChart performance\n\"If You Can Do Anything Else\" debuted at number 60 on the U.S. Billboard Hot Country Singles & Tracks for the week of March 3, 2001.\n\nYear-end charts\n\nReferences\n\n2001 singles\n2000 songs\nGeorge Strait songs\nSongs written by Billy Livsey\nSongs written by Don Schlitz\nSong recordings produced by Tony Brown (record producer)\nMCA Nashville Records singles", "Lorraine Crosby (born 27 November 1960) is an English singer and songwriter. She was the female vocalist on Meat Loaf's 1993 hit single \"I'd Do Anything for Love (But I Won't Do That)\". Her debut album, Mrs Loud was released in 2008.\n\nEarly life\nCrosby was born in Walker, Newcastle upon Tyne. Her father died in a road accident when his car collided with a bus when she was two years old, leaving her mother to raise Lorraine, her two sisters, and one brother. She attended Walker Comprehensive school. She sang in school and church choirs and played the violin in the orchestra, but did not start singing professionally until she was 20.\n\nWork with Meat Loaf and Jim Steinman\nInspired by Tina Turner, Crosby searched the noticeboard for bands wanting singers at the guitar shop Rock City in Newcastle. After joining several bands she set up a five-piece cabaret band which toured extensively, playing to British and American servicemen throughout the early 1980s.\n\nBack in Newcastle, she met Stuart Emerson, who was looking for a singer for his band. They began writing together, and also became a couple. In the early 1990s, Crosby sent songwriter and producer Jim Steinman some demos of songs she had written with Emerson. Steinman asked to meet them so they decided to move to New York. They then followed Steinman after he moved to Los Angeles. Steinman became their manager and secured them a contract with Meat Loaf's recording label MCA. While visiting the label's recording studios on Sunset Boulevard, Crosby was asked to provide guide vocals for Meat Loaf, who was recording the song \"I'd Do Anything for Love (But I Won't Do That)\". Cher, Melissa Etheridge and Bonnie Tyler were considered for the role. The song was a commercial success, becoming number one in 28 countries. However, as Crosby had recorded her part as guide vocals, she did not receive any payment for the recording but she receives royalties from PRS, and so the credit \"Mrs. Loud\" was used on the album. Also, Crosby did not appear in the Michael Bay-directed music video, where model Dana Patrick mimed her vocals. Meat Loaf promoted the single with American vocalist Patti Russo performing the live female vocals of this song at his promotional appearances and concerts. Crosby also sang additional and backing vocals on the songs \"Life Is a Lemon and I Want My Money Back\", \"Objects in the Rear View Mirror May Appear Closer Than They Are\", and \"Everything Louder Than Everything Else\" from the album Bat Out of Hell II: Back into Hell. On these three selections, she was credited under her real name rather than the alias of Mrs. Loud.\n\nSolo work\nCrosby regularly performed at holiday camps and social clubs in England until April 2005 when she took a break from live work.\n\nIn 2005, she sang a duet with Bonnie Tyler for the track \"I'll Stand by You\" from the album Wings. The song was written and composed by Stuart Emerson about Crosby's and Tyler's relationship. Also in 2005, Crosby appeared as a contestant on ITV's The X Factor. She performed \"You've Got a Friend\" and progressed to the second round after impressing judges Louis Walsh and Sharon Osbourne but Simon Cowell expressed doubt saying she \"lacked star quality.\"\n\nCrosby returned to live performances in April 2007. In November 2007, she appeared on the BBC Three television show Most Annoying Pop Songs We Hate to Love discussing the Meat Loaf track \"I'd Do Anything for Love (But I Won't Do That)\" which featured at No. 76.\n\nIn November 2008, Crosby appeared at Newcastle City Hall with special guest Bonnie Tyler to launch her self-produced album entitled Mrs Loud. The concert was later repeated in March 2011. In April 2009, she was also featured on The Justin Lee Collins Show and performed a duet with Justin, singing the Meat Loaf song \"Dead Ringer for Love\". She also performed \"I'd Do Anything for Love\" with Tim Healy for Sunday for Sammy in 2012.\n\nCrosby performs in cabaret shows with her band along with her partner Stuart Emerson.\n\nCrosby appeared in the first round of BBC's second series of The Voice on 6 April 2013. She failed to progress when she was rejected by all four coaches.\n\nOther work\nIn the mid-1990s, Crosby appeared as an extra in several television series episodes.\n\nIn 2019, she joined Steve Steinman Productions in the show Steve Steinman's Anything for Love which toured the UK during 2019 and 2020, performing hits such as \"Good Girls Go to Heaven\", \"Holding Out for a Hero\" and dueting with Steinman on \"What About Love\" and \"I'd Do Anything for Love\", amongst others.\n\nIn 2020, she released a duet with Bonnie Tyler, \"Through Thick and Thin (I'll Stand by You)\" as a charity single in aid of the charity Teenage Cancer Trust.\n\nDiscography\nCrosby has provided backing vocals on Bonnie Tyler's albums Free Spirit (1995) and Wings (2005).\n\nStudio albums\n Mrs Loud (2008)\n\nSingles\n \"I'd Do Anything for Love (But I Won't Do That)\" (with Meat Loaf) (1993)\n \"Through Thick and Thin (I'll Stand by You)\" (with Bonnie Tyler) (2020)\n\nOther recordings\n \"I'll Stand by You\" (with Bonnie Tyler) (2005)\n \"Double Take\" (with Frankie Miller) (2018)\n\nReferences\n\nExternal links\n\n \n\n1960 births\nLiving people\nPeople from Newcastle upon Tyne (district)\nThe Voice UK contestants\n21st-century English women singers" ]
[ "Alaska Natives", "ANCSA and since (1971 to present)", "What is the ANSCA?", "Alaska Native Claims Settlement Act (ANCSA),", "What did it do?", "settled land and financial claims for lands and resources which the peoples had lost to European Americans.", "Did it do anything else for the Natives?", "It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims." ]	C_ea76d8cb68544f4eba487ac9acc63b00_0	Were their lives better after this?	4	Were lives of people lost to European Americans. better after ANSCA 's claims?	Alaska Natives	In 1971 the United States Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the peoples had lost to European Americans. It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the US government in a different historic period than indigenous peoples in the colonies and early federal period. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries, when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. CANNOTANSWER	claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples,	Alaska Natives or Alaskan Natives are indigenous peoples of Alaska and include Iñupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of Alaska Natives migrated into the area thousands of years ago, in at least two different waves. Some are descendants of the third wave of migration, in which people settled across the northern part of North America. They never migrated to southern areas. For this reason, genetic studies show they are not closely related to native peoples in South America. Alaska Natives came from Asia. Anthropologists have stated that their journey from Asia to Alaska was made possible through the Bering land bridge or by traveling through the sea. Throughout the Arctic and the circumpolar north, the ancestors of Alaska Natives established varying indigenous, complex cultures that have succeeded each other over time. They developed sophisticated ways to deal with the challenging climate and environment. Historic groups have been defined by their languages, which belong to several major language families. Today, Alaska Natives constitute more than 15% of the population of Alaska. List of peoples Below is a full list of the different Alaska Native peoples, who are largely defined by their historic languages (within each culture are different tribes): Ancient Beringian Alaskan Athabaskans Ahtna Deg Hit'an Dena'ina Gwich'in Hän Holikachuk Koyukon Lower Tanana Tanacross Upper Tanana Upper Kuskokwim (Kolchan) Eyak Tlingit Haida Tsimshian Eskimo Iñupiat, an Inuit group Yupik Siberian Yupik Yup'ik Cup'ik Nunivak Cup'ig Sugpiaq ~ Alutiiq Chugach Sugpiaq Koniag Alutiiq Aleut (Unangan) Demographics The Alaska Natives Commission estimated there were about 86,000 Alaska Natives living in Alaska in 1990, with another 17,000 who lived outside Alaska. A 2013 study by the Alaska Department of Labor and Workforce Development documented more than 120,000 Alaska Native people in Alaska. While the majority of Alaska Natives live in small villages or remote regional hubs such as Nome, Dillingham, and Bethel, the percentage who live in urban areas has been increasing. In 2010, 44% lived in urban areas, compared to 38% in the 2000 census. As of 2018, natives constitute 15.4% of the overall Alaskan population. History The modern history of Alaskan natives begins with the arrival of Europeans. Unusually for North America, Russians sailing from Siberia in the eighteenth century were the first to make contact. British and American traders, coming mostly from eastern settlements in North America, generally did not reach the area until the nineteenth century. In some cases, Christian missionaries were not active in Alaska until the twentieth century. Russian colonial period During an expedition, Vitus Bering spotted Alaska. Alaskan Natives first came into contact with Russians in the 18th century. Time of contact with Russians varied throughout each native group since the Alaskan natives groups were spread throughout Alaska. Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives in what became known as the Aleutian Islands. They started new settlements around trading posts, and Russian Orthodox missionaries were part of these. The Russian missionaries were the first persons to translate Christian scripture into Native languages, such as Tlingit. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska reflect this early history, as they are generally composed mostly of Alaska Natives. Rather than hunting and harvesting marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased. They forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. The growing competition between the trading companies, which merged into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives. As the animal populations declined, the Aleuts, already dependent on the new barter economy created by their fur trade with the Russians, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many. They also destroyed the peoples' boats and hunting gear, leaving them no means of survival. The greatest mortality was caused by the Aleuts' encounters with new diseases: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These had been endemic among the Europeans for centuries, but the Aleut had no immunity against the new diseases. Effects of Russian colonization The Russian Tsarist government expanded into Indigenous territory in present-day Alaska for its own geopolitical reasons. It consumed natural resources of the territory during the trading years, and Russian Orthodoxy was evangelized. Their movement into these populated areas of Indigenous communities altered the demographic and natural landscape. Historians have suggested that the Russian-American Company exploited Indigenous peoples as a source of inexpensive labor. The Russian-American Company not only used Indigenous populations for labor during the fur trade, but also held some as hostages to acquire iasak. Iasak, a form of taxation imposed by the Russians, was a tribute in the form of otter pelts. It was a taxation method the Russians had previously found useful in their early encounter with Indigenous communities of Siberia during the Siberian fur trade. Beaver pelts were also customary to be given to fur traders upon first contact with various communities. The Russian-American Company used military force on Indigenous families, taking them as hostage until male community members produced furs for them. Otter furs on Kodiak Island and Aleutian Islands enticed the Russians to start these taxations. Robbery and maltreatment in the form of corporal punishment and the withholding of food was also present upon the arrival of fur traders. Catherine the Great dissolved the giving of tribute in 1799, but her government initiated mandatory conscription of Indigenous men between the ages of 18 to 50 to become seal hunters strictly for the Russian American Company. This mandatory labor gave the Russian American Company an edge in competition with American and British fur traders. But the conscription separated men from their families and villages, thus altering and breaking down communities. With able-bodied men away on the hunt, villages were left with little protection as only women, children, and the elderly remained behind. In addition to changes that came with conscription, the spread of disease also altered the populations of Indigenous communities. Although records kept in the period were scarce, it has been said that 80% of the pre-contact population of the Aleut people were gone by 1800. Relationships between Indigenous women and fur traders increased as Indigenous men were away from villages. This resulted in marriages and children that would come to be known as Creole peoples, children who were Indigenous and Russian. To reduce hostilities with Aleutian communities, it became policy for fur traders to enter into marriage with Indigenous women. The Creole population increased in the territory controlled by the Russian American Company. The growth of the Russian Orthodox Church was another important tactic in the colonization and conversion of Indigenous populations. Ioann Veniaminov, who later became Saint Innocent of Alaska, was an important missionary who carried out the Orthodox Church's agenda to Christianize Indigenous populations. The church encouraged Creole children to follow Russian Orthodox Christianity, while the Russian American Company provided them with an education. Creole people were believed to have high levels of loyalty toward the Russian crown and Russian American Company. After completing their education, children were often sent to Russia, where they would study skills such as mapmaking, theology, and military intelligence. In the 1850's Russia lost much of its interest on Alaska. American colonialism Alaska has many natural resources. Alaska's natural resources along with its gold caught the attention of the United States. In 1867, the United States purchased Alaska from Russia. It did not consider the wishes of Alaska Natives or view them as citizens. The land that belonged to Alaska Natives was considered to be "open land", which could be claimed by white settlers without redress to the Alaska Natives living there. The only schools for Alaska Natives were those founded by religious missionaries. Most white settlers did not understand the sophisticated cultures the Alaska Natives had developed to live in that challenging place and considered them to be inferior to European Americans. The Americans imposed racial segregation and what were effectively Jim Crow laws applied against the Alaska Natives and treating them as second-class residents. Since Jim Crow law were imposed, it led to segregation amongst Alaskan Natives and Americans. Buildings would even have signs saying that no natives were allowed. There was also segregated schools. In 1880, there was a court case where a child was not allowed to attend a school with Americans because his step father was native. A child that was part native and part American would only be allowed to attend a school with American children if the family has abandoned their culture. This means that they could no longer speak their native language, wear traditional native clothing, be amongst other natives, eat native foods, or practice any native religion. In 1912, the Alaska Native Brotherhood (ANB) was formed to help fight for citizenship rights. The Alaska Native Sisterhood (ANS) was created in 1915. Also in 1915, the Alaska Territorial legislature passed a law allowing Alaskan Natives the right to vote - but on the condition that they give up their cultural customs and traditions. The Indian Citizenship Act, passed in 1924, gave all Native Americans United States citizenship. ANB began to hold a great deal of political power in the 1920s. They protested the segregation of Alaska Natives in public areas and institutions, and also staged boycotts. Alberta Schenck (Inupiaq) staged a well-publicized protest against segregation in a movie theater in 1944. With the help of Elizabeth Peratrovich (Tlingit), the Alaska Equal Rights Act of 1945 was passed, ending segregation in Alaska. In 1942, during World War II, the United States forced evacuation of around nine hundred Aleuts from the Aleutian Islands. The idea was to remove the Aleuts from a potential combat zone during World War II for their own protection, but European Americans living in the same area were not forced to leave. The removal was handled so poorly that many Aleuts died after they were evacuated; the elderly and children had the highest mortality rates. Survivors returned to the islands to find their homes and possessions destroyed or looted. Alaska became part of the United States in 1959 upon President Dwight D. Eisenhower recognizing Alaska as the 49th state. ANCSA and since (1971 to present) In 1971, with the support of Alaska Native leaders such as Emil Notti, Willie Hensley, and Byron Mallot, the U.S. Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the Alaska Natives had lost to European-Americans. It provided for the establishment of thirteen Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the U.S. government which occurred in a different historic period than its interactions during the period of westward expansion during the 19th-century. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. Climate Change Four indigenous tribes in Alaska, the Shishmaref, Kivalina, Shaktoolik and Newtok tribes, are being considered the first climate refugees for America, due to sea ice melting and increased wildfires in the regions (Bronen and Brubaker). The effects of climate change on the people of Alaska are extensive and include issues such as increased vulnerability to disease, mental health issues, injury, food insecurity, and water insecurity (Brubaker). According to the Environmental Protection Agency (EPA), the loss of sea ice will increase erosion area and further displace more native communities. The melting sea ice will also affect the migration of some animals that the tribes rely on and with the ice melting there will be no place to store the food that they do obtain (EPA). Due to the permafrost melting, the infrastructure that has been around in the past will become unstable and native villages will collapse (EPA). The Shishmaref, Kivalina, Shaktoolik and Newtok tribes are located on the west coast of Alaska and due to sea-level rise the villages are experiencing more severe storm surges that are eroding their coastlines (Bronen). There is no land for these tribes to move to that are already in the area they live in which forces these communities to migrate and change their whole way of living (Bronen). Governments are lacking in response to climate refugees, there are no policies in place to determine where these refugees should go or if they get aid to pay for the cost of traveling (Bronen). It is predicted that a climate event will submerge the tribes completely in less than fifteen years (Bronen). Extreme weather conditions has increased the risk of injury, usually there are thick layers of ice all year long but due to increasing temperatures in the atmosphere and the sea the ice in becoming thinner and is increasing the number of people who fall through the ice, if a person survives falling through the ice they are faced with other health concerns (Brubaker). Increased water insecurity and failing infrastructure caused by climate change has created sanitation issues which has increased the amount of respiratory illnesses in many regions in Alaska, in 2005 pneumonia was the leading cause of hospitalizations (Brubaker). Many of the affected tribes are experiencing increased mental stress due to climate change and the problem of relocating but no policy or way to relocate (Brubaker). Stress has also increased on villages who face infrastructure damage due to melting permafrost, there are almost no regulations other than the Alaskan government recommended not building on permafrost or using extra layers of insulation that is used on foundation walls (EPA). Food insecurity has also created stress and health issues, families can not get enough food due to animals also relocating to get to a climate that is more suitable to them (Brubaker). Families also do not have a secure food system because their ways of storing food, underground ice cellar, are no longer frozen year long due to climate change, their cellars thaw in the summers leaving their food supply inedible (Brubaker). Subsistence Gathering of subsistence food continues to be an important economic and cultural activity for many Alaska Natives. In Utqiaġvik, Alaska in 2005, more than 91 percent of the Iñupiat households which were interviewed still participated in the local subsistence economy, compared with the approximately 33 percent of non-Iñupiat households who used wild resources obtained from hunting, fishing, or gathering. But, unlike many tribes in the contiguous United States, Alaska Natives do not have treaties with the United States that protect their subsistence rights, except for the right to harvest whales and other marine mammals. The Alaska Native Claims Settlement Act explicitly extinguished aboriginal hunting and fishing rights in the state of Alaska. See also Ancient Beringian List of Alaska Native Tribal Entities, the list of Native Villages and other "tribal entities" recognized by the US Bureau of Indian Affairs. Prehistory of Alaska First Alaskans Institute Indigenous Amerindian genetics Circumpolar peoples Indigenous peoples of the Pacific Northwest Coast Indigenous peoples of the Subarctic Indigenous peoples of Siberia Alaska Native Storytelling Alaska Equal Rights Act of 1945 Shamanism among Alaska Natives Women's suffrage in Alaska References Sources Further reading Chythlook-Sifsof, Callan J. "Native Alaska, Under Threat." (Op-Ed) The New York Times. June 27, 2013. External links Alaska Federation of Natives Alaska Native Health Board Alaska Native Heritage Center Alaska Native Language Center First Alaskans Institute Tlingit National Anthem, Alaska Natives Online Arctic Studies Center American culture	true	[ "Friends with Better Lives is an American sitcom television series created by Dana Klein. The multi-camera series premiered on CBS on March 31, 2014, as part of the 2013–14 American television season.\n\nOn May 10, 2014, CBS canceled the series after only five episodes had aired. Later that day, it was reported that Friends with Better Lives was being shopped to other networks. To date, eight of the thirteen episodes produced have aired. The remaining five episodes were aired by DSTV in South Africa and were released on DVD in the US.\n\nPlot\nSix people all think their friends have better lives. Will (James Van Der Beek) is a newly-single bachelor pining for his ex-wife; Jules (Brooklyn Decker) and Lowell (Rick Donald) are newly engaged; Kate (Zoe Lister-Jones) is a successful, single career woman who does not have the best luck with dating; and Andi (Majandra Delfino) and Bobby (Kevin Connolly) are a happily married couple with one child and one on the way, pining for their younger fun days.\n\nCast\n James Van Der Beek as Will Stokes – a gynecologist who returns to the bachelor life after learning of his wife's infidelity.\n Kevin Connolly as Bobby Lutz – a happily married man with two kids, who misses his young partying days.\n Majandra Delfino as Andi Lutz – a happily married woman with two kids, who misses her young partying days.\n Zoe Lister-Jones as Kate McLean – the Chief Operating Officer of a thriving social media company who doesn't have the best of luck when it comes to dating. The character's last name is mentioned as Piers in the episode The Lost and Hound.\n Brooklyn Decker as Jules Talley – a former model and aspiring actress who recently became engaged to Lowell.\n Rick Donald as Lowell Peddit – a spiritual, self-righteous, Australian environmentalist who is recently engaged to Jules.\n\nProduction and development\nIn September 2012, Friends with Better Lives first appeared as part of the CBS development slate. On January 22, 2013, CBS placed a pilot order. The pilot was written by Dana Klein and directed by James Burrows.\n\nCasting announcements began in February 2013, with James Van Der Beek first cast in the role of Will Stokes, a gynecologist who returns to the bachelor life after learning of his wife's infidelity. Brooklyn Decker was the next actor cast, in the series regular role of Jules Talley, a former model and aspiring actress who recently became engaged to Lowell. Rick Donald then joined the series as Lowell Peddit, a spiritual, self-righteous environmentalist who is recently engaged to Jules. Shortly after, Kevin Connolly and Majandra Delfino signed onto the series regular roles of Bobby and Andi Lutz, a happily married couple with two kids, who miss their young partying days. Zoe Lister-Jones was the last actor cast in the series regular role of Kate McLean, the Chief Operating Officer of a thriving social media company who doesn't have the best of luck when it comes to dating.\n\nOn May 12, 2013, CBS placed a series order on Friends with Better Lives to premiere as part of the 2013–14 American television season.\n\nEpisodes\n\nReferences\n\nExternal links\n \n\n2010s American sitcoms\n2014 American television series debuts\n2014 American television series endings\nCBS original programming\nEnglish-language television shows\nTelevision series by 20th Century Fox Television\nTelevision series by Kapital Entertainment", "\"My Life as a Turkey\" is a television episode that premiered in 2011 in the UK on BBC (season 30 of the series Natural World, August 1) and in the US on PBS (season 30 of the series Nature, November 16). It won an Emmy Award for Outstanding Nature Programming. It was based on the book Illumination in the Flatwoods by Joe Hutto, who also co-wrote and hosted the TV program.\n\nSynopsis\nMy Life as a Turkey describes how Hutto raised a brood of wild turkeys. They imprinted on him as they came out of the egg. He then led them on walks through the Florida woods. He describes how he learned their language and was impressed by their instincts and native intelligence. Eventually, after about a year, they became independent of him. The film shows footage of turkeys at all these ages, and is a re-enactment of the material described in Hutto's book.\n\nReception & media coverage\nIn relation to the film, Joe Hutto has been profiled in newspapers, with a focus on the program and book. The book was mentioned in The New Yorker.\n\nMeaningful Quotes\n\n“Their language and their understanding of the ecology shows a remarkable intelligence. But their ability to understand the world goes much further than just communication. I came to realize that these young turkeys in many ways were more conscious than I was. I actually felt a sort of embarrassment when I was in their presence - they were so in the moment - and ultimately their experience of that manifested in a kind of joy that I don’t experience and I was very envious of that.\nI was learning new things about turkeys everyday. But this was not just about how they live their lives - these animals were showing me how to live my life also.\nWe do not have a privileged access to reality.\nSo many of us live either in the past or in the future - and betray the moment. And in some sense we forget to live our lives - and the wild turkeys were aways reminding me to live my life.\nI think as humans we have this peculiar predisposition to be always thinking ahead - living a little bit in the future - anticipating the next minute, the next hour, the next day - and we betray the moment. Wild turkeys don’t do that. They are convinced that everything that they need, all their needs, will be met only in the present moment and in this space. The world is not better half mile through the woods, it’s not better an hour from now, and it’s not better tomorrow - that this is as good as it gets. So they constantly reminded me to do better, and to not live in this abstraction of the future, which by definition will never exist. And so we sort of betray our lives in the moment and the wild turkeys reminded me to be present, to be here.”\n\n\"I learned many things - but maybe the most important was that we are essentially unaware of the overwhelming complexity that exists all around us. And I’ll never see the world in the same way again.\"\n\nAwards\nEmmy - Outstanding Nature Programming (2012)\nJackson Hole Wildlife Film Festival - Best Writing (2011)\n\nReferences\n\nExternal links\n \n My Life as a Turkey (viewable at Daily Motion)\n My Life as a Turkey (viewable online at PBS)\n My Life as a Turkey (clips online at BBC)\n\nAnimals and humans\nEmmy Award-winning episodes\nDocumentary films about nature\nDocumentary films about birds\nDocumentary films about Florida\nBirds of the United States" ]
[ "Alaska Natives", "ANCSA and since (1971 to present)", "What is the ANSCA?", "Alaska Native Claims Settlement Act (ANCSA),", "What did it do?", "settled land and financial claims for lands and resources which the peoples had lost to European Americans.", "Did it do anything else for the Natives?", "It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims.", "Were their lives better after this?", "claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples," ]	C_ea76d8cb68544f4eba487ac9acc63b00_0	What was the views of Europeans towards Natives?	5	What was the views of Europeans towards Natives?	Alaska Natives	In 1971 the United States Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the peoples had lost to European Americans. It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the US government in a different historic period than indigenous peoples in the colonies and early federal period. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries, when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. CANNOTANSWER	Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries,	Alaska Natives or Alaskan Natives are indigenous peoples of Alaska and include Iñupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of Alaska Natives migrated into the area thousands of years ago, in at least two different waves. Some are descendants of the third wave of migration, in which people settled across the northern part of North America. They never migrated to southern areas. For this reason, genetic studies show they are not closely related to native peoples in South America. Alaska Natives came from Asia. Anthropologists have stated that their journey from Asia to Alaska was made possible through the Bering land bridge or by traveling through the sea. Throughout the Arctic and the circumpolar north, the ancestors of Alaska Natives established varying indigenous, complex cultures that have succeeded each other over time. They developed sophisticated ways to deal with the challenging climate and environment. Historic groups have been defined by their languages, which belong to several major language families. Today, Alaska Natives constitute more than 15% of the population of Alaska. List of peoples Below is a full list of the different Alaska Native peoples, who are largely defined by their historic languages (within each culture are different tribes): Ancient Beringian Alaskan Athabaskans Ahtna Deg Hit'an Dena'ina Gwich'in Hän Holikachuk Koyukon Lower Tanana Tanacross Upper Tanana Upper Kuskokwim (Kolchan) Eyak Tlingit Haida Tsimshian Eskimo Iñupiat, an Inuit group Yupik Siberian Yupik Yup'ik Cup'ik Nunivak Cup'ig Sugpiaq ~ Alutiiq Chugach Sugpiaq Koniag Alutiiq Aleut (Unangan) Demographics The Alaska Natives Commission estimated there were about 86,000 Alaska Natives living in Alaska in 1990, with another 17,000 who lived outside Alaska. A 2013 study by the Alaska Department of Labor and Workforce Development documented more than 120,000 Alaska Native people in Alaska. While the majority of Alaska Natives live in small villages or remote regional hubs such as Nome, Dillingham, and Bethel, the percentage who live in urban areas has been increasing. In 2010, 44% lived in urban areas, compared to 38% in the 2000 census. As of 2018, natives constitute 15.4% of the overall Alaskan population. History The modern history of Alaskan natives begins with the arrival of Europeans. Unusually for North America, Russians sailing from Siberia in the eighteenth century were the first to make contact. British and American traders, coming mostly from eastern settlements in North America, generally did not reach the area until the nineteenth century. In some cases, Christian missionaries were not active in Alaska until the twentieth century. Russian colonial period During an expedition, Vitus Bering spotted Alaska. Alaskan Natives first came into contact with Russians in the 18th century. Time of contact with Russians varied throughout each native group since the Alaskan natives groups were spread throughout Alaska. Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives in what became known as the Aleutian Islands. They started new settlements around trading posts, and Russian Orthodox missionaries were part of these. The Russian missionaries were the first persons to translate Christian scripture into Native languages, such as Tlingit. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska reflect this early history, as they are generally composed mostly of Alaska Natives. Rather than hunting and harvesting marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased. They forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. The growing competition between the trading companies, which merged into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives. As the animal populations declined, the Aleuts, already dependent on the new barter economy created by their fur trade with the Russians, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many. They also destroyed the peoples' boats and hunting gear, leaving them no means of survival. The greatest mortality was caused by the Aleuts' encounters with new diseases: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These had been endemic among the Europeans for centuries, but the Aleut had no immunity against the new diseases. Effects of Russian colonization The Russian Tsarist government expanded into Indigenous territory in present-day Alaska for its own geopolitical reasons. It consumed natural resources of the territory during the trading years, and Russian Orthodoxy was evangelized. Their movement into these populated areas of Indigenous communities altered the demographic and natural landscape. Historians have suggested that the Russian-American Company exploited Indigenous peoples as a source of inexpensive labor. The Russian-American Company not only used Indigenous populations for labor during the fur trade, but also held some as hostages to acquire iasak. Iasak, a form of taxation imposed by the Russians, was a tribute in the form of otter pelts. It was a taxation method the Russians had previously found useful in their early encounter with Indigenous communities of Siberia during the Siberian fur trade. Beaver pelts were also customary to be given to fur traders upon first contact with various communities. The Russian-American Company used military force on Indigenous families, taking them as hostage until male community members produced furs for them. Otter furs on Kodiak Island and Aleutian Islands enticed the Russians to start these taxations. Robbery and maltreatment in the form of corporal punishment and the withholding of food was also present upon the arrival of fur traders. Catherine the Great dissolved the giving of tribute in 1799, but her government initiated mandatory conscription of Indigenous men between the ages of 18 to 50 to become seal hunters strictly for the Russian American Company. This mandatory labor gave the Russian American Company an edge in competition with American and British fur traders. But the conscription separated men from their families and villages, thus altering and breaking down communities. With able-bodied men away on the hunt, villages were left with little protection as only women, children, and the elderly remained behind. In addition to changes that came with conscription, the spread of disease also altered the populations of Indigenous communities. Although records kept in the period were scarce, it has been said that 80% of the pre-contact population of the Aleut people were gone by 1800. Relationships between Indigenous women and fur traders increased as Indigenous men were away from villages. This resulted in marriages and children that would come to be known as Creole peoples, children who were Indigenous and Russian. To reduce hostilities with Aleutian communities, it became policy for fur traders to enter into marriage with Indigenous women. The Creole population increased in the territory controlled by the Russian American Company. The growth of the Russian Orthodox Church was another important tactic in the colonization and conversion of Indigenous populations. Ioann Veniaminov, who later became Saint Innocent of Alaska, was an important missionary who carried out the Orthodox Church's agenda to Christianize Indigenous populations. The church encouraged Creole children to follow Russian Orthodox Christianity, while the Russian American Company provided them with an education. Creole people were believed to have high levels of loyalty toward the Russian crown and Russian American Company. After completing their education, children were often sent to Russia, where they would study skills such as mapmaking, theology, and military intelligence. In the 1850's Russia lost much of its interest on Alaska. American colonialism Alaska has many natural resources. Alaska's natural resources along with its gold caught the attention of the United States. In 1867, the United States purchased Alaska from Russia. It did not consider the wishes of Alaska Natives or view them as citizens. The land that belonged to Alaska Natives was considered to be "open land", which could be claimed by white settlers without redress to the Alaska Natives living there. The only schools for Alaska Natives were those founded by religious missionaries. Most white settlers did not understand the sophisticated cultures the Alaska Natives had developed to live in that challenging place and considered them to be inferior to European Americans. The Americans imposed racial segregation and what were effectively Jim Crow laws applied against the Alaska Natives and treating them as second-class residents. Since Jim Crow law were imposed, it led to segregation amongst Alaskan Natives and Americans. Buildings would even have signs saying that no natives were allowed. There was also segregated schools. In 1880, there was a court case where a child was not allowed to attend a school with Americans because his step father was native. A child that was part native and part American would only be allowed to attend a school with American children if the family has abandoned their culture. This means that they could no longer speak their native language, wear traditional native clothing, be amongst other natives, eat native foods, or practice any native religion. In 1912, the Alaska Native Brotherhood (ANB) was formed to help fight for citizenship rights. The Alaska Native Sisterhood (ANS) was created in 1915. Also in 1915, the Alaska Territorial legislature passed a law allowing Alaskan Natives the right to vote - but on the condition that they give up their cultural customs and traditions. The Indian Citizenship Act, passed in 1924, gave all Native Americans United States citizenship. ANB began to hold a great deal of political power in the 1920s. They protested the segregation of Alaska Natives in public areas and institutions, and also staged boycotts. Alberta Schenck (Inupiaq) staged a well-publicized protest against segregation in a movie theater in 1944. With the help of Elizabeth Peratrovich (Tlingit), the Alaska Equal Rights Act of 1945 was passed, ending segregation in Alaska. In 1942, during World War II, the United States forced evacuation of around nine hundred Aleuts from the Aleutian Islands. The idea was to remove the Aleuts from a potential combat zone during World War II for their own protection, but European Americans living in the same area were not forced to leave. The removal was handled so poorly that many Aleuts died after they were evacuated; the elderly and children had the highest mortality rates. Survivors returned to the islands to find their homes and possessions destroyed or looted. Alaska became part of the United States in 1959 upon President Dwight D. Eisenhower recognizing Alaska as the 49th state. ANCSA and since (1971 to present) In 1971, with the support of Alaska Native leaders such as Emil Notti, Willie Hensley, and Byron Mallot, the U.S. Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the Alaska Natives had lost to European-Americans. It provided for the establishment of thirteen Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the U.S. government which occurred in a different historic period than its interactions during the period of westward expansion during the 19th-century. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. Climate Change Four indigenous tribes in Alaska, the Shishmaref, Kivalina, Shaktoolik and Newtok tribes, are being considered the first climate refugees for America, due to sea ice melting and increased wildfires in the regions (Bronen and Brubaker). The effects of climate change on the people of Alaska are extensive and include issues such as increased vulnerability to disease, mental health issues, injury, food insecurity, and water insecurity (Brubaker). According to the Environmental Protection Agency (EPA), the loss of sea ice will increase erosion area and further displace more native communities. The melting sea ice will also affect the migration of some animals that the tribes rely on and with the ice melting there will be no place to store the food that they do obtain (EPA). Due to the permafrost melting, the infrastructure that has been around in the past will become unstable and native villages will collapse (EPA). The Shishmaref, Kivalina, Shaktoolik and Newtok tribes are located on the west coast of Alaska and due to sea-level rise the villages are experiencing more severe storm surges that are eroding their coastlines (Bronen). There is no land for these tribes to move to that are already in the area they live in which forces these communities to migrate and change their whole way of living (Bronen). Governments are lacking in response to climate refugees, there are no policies in place to determine where these refugees should go or if they get aid to pay for the cost of traveling (Bronen). It is predicted that a climate event will submerge the tribes completely in less than fifteen years (Bronen). Extreme weather conditions has increased the risk of injury, usually there are thick layers of ice all year long but due to increasing temperatures in the atmosphere and the sea the ice in becoming thinner and is increasing the number of people who fall through the ice, if a person survives falling through the ice they are faced with other health concerns (Brubaker). Increased water insecurity and failing infrastructure caused by climate change has created sanitation issues which has increased the amount of respiratory illnesses in many regions in Alaska, in 2005 pneumonia was the leading cause of hospitalizations (Brubaker). Many of the affected tribes are experiencing increased mental stress due to climate change and the problem of relocating but no policy or way to relocate (Brubaker). Stress has also increased on villages who face infrastructure damage due to melting permafrost, there are almost no regulations other than the Alaskan government recommended not building on permafrost or using extra layers of insulation that is used on foundation walls (EPA). Food insecurity has also created stress and health issues, families can not get enough food due to animals also relocating to get to a climate that is more suitable to them (Brubaker). Families also do not have a secure food system because their ways of storing food, underground ice cellar, are no longer frozen year long due to climate change, their cellars thaw in the summers leaving their food supply inedible (Brubaker). Subsistence Gathering of subsistence food continues to be an important economic and cultural activity for many Alaska Natives. In Utqiaġvik, Alaska in 2005, more than 91 percent of the Iñupiat households which were interviewed still participated in the local subsistence economy, compared with the approximately 33 percent of non-Iñupiat households who used wild resources obtained from hunting, fishing, or gathering. But, unlike many tribes in the contiguous United States, Alaska Natives do not have treaties with the United States that protect their subsistence rights, except for the right to harvest whales and other marine mammals. The Alaska Native Claims Settlement Act explicitly extinguished aboriginal hunting and fishing rights in the state of Alaska. See also Ancient Beringian List of Alaska Native Tribal Entities, the list of Native Villages and other "tribal entities" recognized by the US Bureau of Indian Affairs. Prehistory of Alaska First Alaskans Institute Indigenous Amerindian genetics Circumpolar peoples Indigenous peoples of the Pacific Northwest Coast Indigenous peoples of the Subarctic Indigenous peoples of Siberia Alaska Native Storytelling Alaska Equal Rights Act of 1945 Shamanism among Alaska Natives Women's suffrage in Alaska References Sources Further reading Chythlook-Sifsof, Callan J. "Native Alaska, Under Threat." (Op-Ed) The New York Times. June 27, 2013. External links Alaska Federation of Natives Alaska Native Health Board Alaska Native Heritage Center Alaska Native Language Center First Alaskans Institute Tlingit National Anthem, Alaska Natives Online Arctic Studies Center American culture	false	[ "The Indian Trade refers to historic trade between Europeans and their North American descendants and the Indigenous people of North America, and the First Nations in Canada, beginning before the colonial period, continuing through the 19th century and declining around 1937.\n\nThe term Indian Trade in this context describes the people involved in the trade. The products involved varied by region and era. In most of Canada, the term is synonymous with the fur trade, since fur for making beaver hats was by far the most valuable product of the trade, from the European point of view. Demand for other products resulted in trade in those items: Europeans asked for deerskin in the Southeast coast of the United States, and for buffalo skins and meat, and pemmican on the Great Plains. In turn, Native American demand influenced the trade goods brought by Europeans.\n\nEconomic contact between Native Americans and European colonists began in the early stages of European settlement. From the 17th to the 19th century, the English and French mainly traded for animal pelts and fur with Native Americans. On the other hand, trading between the Spanish and Native Americans was sporadic and lasted only for a couple of decades. Eventually, wars, the dwindling of Native American populations, and the westward expansion of the United States led to the confinement of tribes to reservations and the end of this kind of economic relations between Indians and European Americans.\n\nOther economic relations continued, especially in the alcohol trade around many reservations, and for Native American arts and crafts that are now shown for everyone to see. Today, many Native Americans satisfy a different kind of demand with the associated trades of their gaming casinos on reservations. These have been developed as entertainment and conference resorts, serving a wide market of customers, and generating very little revenues for tribes to use for economic development, as well as welfare and education of their people.\n\nThe first explorers to conduct trade with Native Americans were Giovanni da Verrazzano and Jacques Cartier in the 1520s-1540s. Verrazzano noted in his book, \"If we wanted to trade with them for some of their things, they would come to the seashore on some rocks where the breakers were most violent while we remained on the little boat, and they sent us what they wanted to give on a rope, continually shouting to us not to approach the land.\" As visits from Europeans became more frequent and some Europeans began to settle in North America, Natives began to establish regular trade relations with these new colonists. The ideal locations for fur trading were near harbors where ships could come in.\n\nTrade with early European settlers\nPlymouth and Jamestown\n\nTo set up a thriving colony, settlers in the New World needed the five factors of production that contribute to the creation of wealth: land (natural resources), labor, capital, entrepreneurship, and knowledge. Often, trading with Native Americans resulted in colonists gaining needed knowledge and natural resources. Examples of this can be seen in the English settlements of Plymouth Bay and Jamestown. Massasoit, a sachem of the Wampanoag people, and Squanto, a Patuxet who acted as a diplomat, helped the Pilgrims of Plymouth Bay establish their colony by teaching them skills in cultivating this land and hunting. In return for weapons and tools, these Native Americans provided the colonists with important natural resources, including food. In 1621 Massasoit established one of the earliest trading pacts between Europeans and Natives by signing a treaty with the Plymouth Colony to engage in peaceful trade. However, as the colonial population in New England began to increase, the Wampanoag became uneasy about being displaced by the colonists. Gradually, tensions escalated, leading to King Philip's War, an armed conflict between the Pilgrims and the Native Americans in the area. The war ended with the defeat of the Native tribe, causing a serious fracture amongst relations between the Pilgrims and Native Americans.\n\nRelations between settlers in the Jamestown area and Native Americans ended similarly. Initially, the Powhatan aided the English settlers with food and clothing, helping them survive the early difficult years. However, relations between the two groups deteriorated after three years, resulting in a war.\n\nFur trading posts\n\nFur trading was one of the main economic activities in Northern America from the late 16th century to the mid-19th century. At the time, demand for fur was surging in Europe as it was used to make cloth and fancy hats. Data collected from England in the 18th-century highlights that the years from 1746 to 1763 saw an increase of 12 shillings per pelt. It has been calculated that over 20 million beaver hats were exported from England alone from 1700 to 1770. Both trading partners, Native Americans, and Europeans, provided the other a comparative advantage in the fur trade industry. The opportunity cost of hunting beavers in Europe was extremely high: by the seventeenth and eighteenth centuries, the Eurasian beaver was near extinction in England and France. On the other hand, traders and trappers thought the wildlife in the New World was essentially limitless. Native Americans made use of the trade goods received, particularly knives, axes, and guns. The fur trade provided a stable source of income for many Native Americans until the mid-19th century when changing fashion trends in Europe and a decline in the beaver population in North America brought about a collapse in demand for fur.\n\nTrade with the Spanish\n\nTrading between Spanish settlers and Native Americans was rare and occurred in parts of New Mexico and California. The Spanish mainly intended to spread the Christian faith to Natives and to establish the encomienda system. The most significant effect of trading with the Spanish was the introduction of the horse to the Ute in New Mexico. Gradually, horses bred and their use was adopted across the Great Plains, dramatically altering the lifestyles and customs of many Native American tribes. Many Natives switched from a hunter-gatherer economy to a nomadic lifestyle after they began using horses for transportation. They had a greater range for hunting bison and trading with other tribes.\n\nRelationship between Europeans and Natives\n\nIt took time for Europeans and Native Americans to learn the customs of the other side. When Europeans first encountered a tribe, they would often be offered fur, food, or other items as gifts. The Europeans did not understand they were supposed to take on an alliance with the natives, including helping them against their enemies. Native American tribes regularly practice gift-giving as part of their social relations. Because the Europeans did not (or most of them), they were considered to be rude and crude.\n\nAfter observing that Europeans wanted to trade goods for the skins and other items, Native Americans entered into that. Both sides became involved in the conflicts of the other. In New France, in Carolina, Virginia, and New England, and New Netherland, the Europeans became drawn into the endemic warfare of their trading partners. As Native Americans were pressed into alliances by the Europeans for Queen Anne's War, the Seven Years' War, the Nine Years' War, and other standing competitions among the European powers: France, Great Britain, and Spain, with whom they were dealing in North America, they felt drawn into the Europeans' endemic warfare.\n\nLate 19th century to present\n\nAfter the United States became independent, it enacted legislation to regulate trading with the Indians/Native Americans, under the Indian Intercourse Act, first passed on July 22, 1790. Later the Natives Office, which was then part of the War Department, issued licenses to traders in the Native Territory. Under removal, the largest tribes from the Southeast and north of Ohio were moved west of the Mississippi River. By 1834 Native Territory had been designated as what was then most of the United States west of the Mississippi, primarily what became Arkansas, Kansas, and Oklahoma. Territories of the upper West were still occupied by native tribes as well. Mountain men and traders from Mexico freely operated there independently of the US.\n\nAfter the formation of the United States, the commerce clause of the Constitution gave Congress the power to \"regulate Commerce with foreign Nations, and among the several States, and with the Native tribes.\" In the 19th century, the American government passed legislation to support the relocation of tribes to reservations to extinguish their title to lands that could be sold to European Americans. The Indian Removal Act of 1830 forced tribes such as the Cherokee and the Choctaw to move out of their homelands. Resistance by Native Americans to relocate resulted in conflicts such as the Second Seminole War, that caused the deaths of 3000 Native Americans. Forcing tribes to relocate and to adjust to isolated reservations often unsuitable for the subsistence farming they were encouraged to undertake, made many of them dependent on the U.S. government for annuities and supplies. They had difficulty trying to develop economic systems of their own.\n\nAs outlined by Kalt and Cornell in their book, What Can Tribes Do? Strategies and Institutions in American Native Economic Development, on reservations, tribes lacked access to capital, were assigned to areas with poor natural resources (or had their resources stolen or kept from their control), and did not possess skilled labor.\n\nToday, many programs, such as the Harvard Project on American Indian Economic Development, exist to foster conditions that will help reservations become independent and financially stable communities. Since the late 20th century, many tribes have established gaming casinos. The most successful ones use part of the revenues for the economic development of their nations, as well as for welfare and education for all their tribal members.\n\nNotes\n\nReferences \nVaughan, A. T. (2010). New England Frontier: Puritans and Natives, 1620-1675. University of Oklahoma Press.\nDolin, Eric J. Fur, Fortune, and Empire: The Epic History of the Fur Trade in America.\nN.p.: W.W. Norton &, 2011. Print.\nPritzker, Barry. Native Americans: An Encyclopedia of History, Culture, and Peoples. Santa Barbara, CA: ABC-CLIO, 1998. Print\nPerdue, Theda. \"The Legacy of Native Removal.\" The Journal of Southern History 78.1 (2012): n. pag. Print\nCarlos, Ann, and Frank Lewis. \"Fur Trade (1670-1870)\". EH.Net Encyclopedia, edited by Robert Whaples. March 16, 2008.\nCornell, Stephen E., and Joseph P. Kalt. What Can Tribes Do?: Strategies and Institutions in American Native Economic Development. Los Angeles: American Native Studies Center, University of California, Los Angeles, 1992.\n\nNative Trade, The\nNative Trade, The\nFur trade\nnative Trade, The\n Economic history of the United States", "By 1913, the British Empire held sway over 412 million people, of the world population at the time.\n\nPopulation\n\nThe following table gives the population of the British Empire and its territories, in several different time periods. The most populous territory in the empire was British India, which included what are now Pakistan and Bangladesh.\n\nEthnicity\nThe empire's population was classified into white people, also referred to as Europeans, and non-white people, variously referred to as persons of color, negros and natives. The largest ethnic grouping in the empire was Indians (including what are now Pakistanis and Bangladeshis), who were classified into 118 groups on the basis of language which were amalgamated into seven \"principle groups\". The following table gives the population figures for white people and non-white people, in the empire and its territories, in 1814 and 1901.\n\nReligion\nThe British authorities were primarily Protestant Christians throughout the history of the Empire.\n\nThe following table gives the population figures for the religions in the British Empire in 1901. The most populous religion in the empire was Hinduism, followed by Islam.\n\nSee also\nEconomy of the British Empire\nTerritorial evolution of the British Empire\n\nReferences\n\nFurther reading\n\n \n\nBritish Empire\nHistory of the British Empire" ]
[ "Alaska Natives", "ANCSA and since (1971 to present)", "What is the ANSCA?", "Alaska Native Claims Settlement Act (ANCSA),", "What did it do?", "settled land and financial claims for lands and resources which the peoples had lost to European Americans.", "Did it do anything else for the Natives?", "It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims.", "Were their lives better after this?", "claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples,", "What was the views of Europeans towards Natives?", "Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries," ]	C_ea76d8cb68544f4eba487ac9acc63b00_0	What changed during the late nineteenth century?	6	What changes happend to The Alaska Natives during the late nineteenth century?	Alaska Natives	In 1971 the United States Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the peoples had lost to European Americans. It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the US government in a different historic period than indigenous peoples in the colonies and early federal period. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries, when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. CANNOTANSWER	The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906.	Alaska Natives or Alaskan Natives are indigenous peoples of Alaska and include Iñupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of Alaska Natives migrated into the area thousands of years ago, in at least two different waves. Some are descendants of the third wave of migration, in which people settled across the northern part of North America. They never migrated to southern areas. For this reason, genetic studies show they are not closely related to native peoples in South America. Alaska Natives came from Asia. Anthropologists have stated that their journey from Asia to Alaska was made possible through the Bering land bridge or by traveling through the sea. Throughout the Arctic and the circumpolar north, the ancestors of Alaska Natives established varying indigenous, complex cultures that have succeeded each other over time. They developed sophisticated ways to deal with the challenging climate and environment. Historic groups have been defined by their languages, which belong to several major language families. Today, Alaska Natives constitute more than 15% of the population of Alaska. List of peoples Below is a full list of the different Alaska Native peoples, who are largely defined by their historic languages (within each culture are different tribes): Ancient Beringian Alaskan Athabaskans Ahtna Deg Hit'an Dena'ina Gwich'in Hän Holikachuk Koyukon Lower Tanana Tanacross Upper Tanana Upper Kuskokwim (Kolchan) Eyak Tlingit Haida Tsimshian Eskimo Iñupiat, an Inuit group Yupik Siberian Yupik Yup'ik Cup'ik Nunivak Cup'ig Sugpiaq ~ Alutiiq Chugach Sugpiaq Koniag Alutiiq Aleut (Unangan) Demographics The Alaska Natives Commission estimated there were about 86,000 Alaska Natives living in Alaska in 1990, with another 17,000 who lived outside Alaska. A 2013 study by the Alaska Department of Labor and Workforce Development documented more than 120,000 Alaska Native people in Alaska. While the majority of Alaska Natives live in small villages or remote regional hubs such as Nome, Dillingham, and Bethel, the percentage who live in urban areas has been increasing. In 2010, 44% lived in urban areas, compared to 38% in the 2000 census. As of 2018, natives constitute 15.4% of the overall Alaskan population. History The modern history of Alaskan natives begins with the arrival of Europeans. Unusually for North America, Russians sailing from Siberia in the eighteenth century were the first to make contact. British and American traders, coming mostly from eastern settlements in North America, generally did not reach the area until the nineteenth century. In some cases, Christian missionaries were not active in Alaska until the twentieth century. Russian colonial period During an expedition, Vitus Bering spotted Alaska. Alaskan Natives first came into contact with Russians in the 18th century. Time of contact with Russians varied throughout each native group since the Alaskan natives groups were spread throughout Alaska. Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives in what became known as the Aleutian Islands. They started new settlements around trading posts, and Russian Orthodox missionaries were part of these. The Russian missionaries were the first persons to translate Christian scripture into Native languages, such as Tlingit. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska reflect this early history, as they are generally composed mostly of Alaska Natives. Rather than hunting and harvesting marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased. They forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. The growing competition between the trading companies, which merged into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives. As the animal populations declined, the Aleuts, already dependent on the new barter economy created by their fur trade with the Russians, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many. They also destroyed the peoples' boats and hunting gear, leaving them no means of survival. The greatest mortality was caused by the Aleuts' encounters with new diseases: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These had been endemic among the Europeans for centuries, but the Aleut had no immunity against the new diseases. Effects of Russian colonization The Russian Tsarist government expanded into Indigenous territory in present-day Alaska for its own geopolitical reasons. It consumed natural resources of the territory during the trading years, and Russian Orthodoxy was evangelized. Their movement into these populated areas of Indigenous communities altered the demographic and natural landscape. Historians have suggested that the Russian-American Company exploited Indigenous peoples as a source of inexpensive labor. The Russian-American Company not only used Indigenous populations for labor during the fur trade, but also held some as hostages to acquire iasak. Iasak, a form of taxation imposed by the Russians, was a tribute in the form of otter pelts. It was a taxation method the Russians had previously found useful in their early encounter with Indigenous communities of Siberia during the Siberian fur trade. Beaver pelts were also customary to be given to fur traders upon first contact with various communities. The Russian-American Company used military force on Indigenous families, taking them as hostage until male community members produced furs for them. Otter furs on Kodiak Island and Aleutian Islands enticed the Russians to start these taxations. Robbery and maltreatment in the form of corporal punishment and the withholding of food was also present upon the arrival of fur traders. Catherine the Great dissolved the giving of tribute in 1799, but her government initiated mandatory conscription of Indigenous men between the ages of 18 to 50 to become seal hunters strictly for the Russian American Company. This mandatory labor gave the Russian American Company an edge in competition with American and British fur traders. But the conscription separated men from their families and villages, thus altering and breaking down communities. With able-bodied men away on the hunt, villages were left with little protection as only women, children, and the elderly remained behind. In addition to changes that came with conscription, the spread of disease also altered the populations of Indigenous communities. Although records kept in the period were scarce, it has been said that 80% of the pre-contact population of the Aleut people were gone by 1800. Relationships between Indigenous women and fur traders increased as Indigenous men were away from villages. This resulted in marriages and children that would come to be known as Creole peoples, children who were Indigenous and Russian. To reduce hostilities with Aleutian communities, it became policy for fur traders to enter into marriage with Indigenous women. The Creole population increased in the territory controlled by the Russian American Company. The growth of the Russian Orthodox Church was another important tactic in the colonization and conversion of Indigenous populations. Ioann Veniaminov, who later became Saint Innocent of Alaska, was an important missionary who carried out the Orthodox Church's agenda to Christianize Indigenous populations. The church encouraged Creole children to follow Russian Orthodox Christianity, while the Russian American Company provided them with an education. Creole people were believed to have high levels of loyalty toward the Russian crown and Russian American Company. After completing their education, children were often sent to Russia, where they would study skills such as mapmaking, theology, and military intelligence. In the 1850's Russia lost much of its interest on Alaska. American colonialism Alaska has many natural resources. Alaska's natural resources along with its gold caught the attention of the United States. In 1867, the United States purchased Alaska from Russia. It did not consider the wishes of Alaska Natives or view them as citizens. The land that belonged to Alaska Natives was considered to be "open land", which could be claimed by white settlers without redress to the Alaska Natives living there. The only schools for Alaska Natives were those founded by religious missionaries. Most white settlers did not understand the sophisticated cultures the Alaska Natives had developed to live in that challenging place and considered them to be inferior to European Americans. The Americans imposed racial segregation and what were effectively Jim Crow laws applied against the Alaska Natives and treating them as second-class residents. Since Jim Crow law were imposed, it led to segregation amongst Alaskan Natives and Americans. Buildings would even have signs saying that no natives were allowed. There was also segregated schools. In 1880, there was a court case where a child was not allowed to attend a school with Americans because his step father was native. A child that was part native and part American would only be allowed to attend a school with American children if the family has abandoned their culture. This means that they could no longer speak their native language, wear traditional native clothing, be amongst other natives, eat native foods, or practice any native religion. In 1912, the Alaska Native Brotherhood (ANB) was formed to help fight for citizenship rights. The Alaska Native Sisterhood (ANS) was created in 1915. Also in 1915, the Alaska Territorial legislature passed a law allowing Alaskan Natives the right to vote - but on the condition that they give up their cultural customs and traditions. The Indian Citizenship Act, passed in 1924, gave all Native Americans United States citizenship. ANB began to hold a great deal of political power in the 1920s. They protested the segregation of Alaska Natives in public areas and institutions, and also staged boycotts. Alberta Schenck (Inupiaq) staged a well-publicized protest against segregation in a movie theater in 1944. With the help of Elizabeth Peratrovich (Tlingit), the Alaska Equal Rights Act of 1945 was passed, ending segregation in Alaska. In 1942, during World War II, the United States forced evacuation of around nine hundred Aleuts from the Aleutian Islands. The idea was to remove the Aleuts from a potential combat zone during World War II for their own protection, but European Americans living in the same area were not forced to leave. The removal was handled so poorly that many Aleuts died after they were evacuated; the elderly and children had the highest mortality rates. Survivors returned to the islands to find their homes and possessions destroyed or looted. Alaska became part of the United States in 1959 upon President Dwight D. Eisenhower recognizing Alaska as the 49th state. ANCSA and since (1971 to present) In 1971, with the support of Alaska Native leaders such as Emil Notti, Willie Hensley, and Byron Mallot, the U.S. Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the Alaska Natives had lost to European-Americans. It provided for the establishment of thirteen Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the U.S. government which occurred in a different historic period than its interactions during the period of westward expansion during the 19th-century. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. Climate Change Four indigenous tribes in Alaska, the Shishmaref, Kivalina, Shaktoolik and Newtok tribes, are being considered the first climate refugees for America, due to sea ice melting and increased wildfires in the regions (Bronen and Brubaker). The effects of climate change on the people of Alaska are extensive and include issues such as increased vulnerability to disease, mental health issues, injury, food insecurity, and water insecurity (Brubaker). According to the Environmental Protection Agency (EPA), the loss of sea ice will increase erosion area and further displace more native communities. The melting sea ice will also affect the migration of some animals that the tribes rely on and with the ice melting there will be no place to store the food that they do obtain (EPA). Due to the permafrost melting, the infrastructure that has been around in the past will become unstable and native villages will collapse (EPA). The Shishmaref, Kivalina, Shaktoolik and Newtok tribes are located on the west coast of Alaska and due to sea-level rise the villages are experiencing more severe storm surges that are eroding their coastlines (Bronen). There is no land for these tribes to move to that are already in the area they live in which forces these communities to migrate and change their whole way of living (Bronen). Governments are lacking in response to climate refugees, there are no policies in place to determine where these refugees should go or if they get aid to pay for the cost of traveling (Bronen). It is predicted that a climate event will submerge the tribes completely in less than fifteen years (Bronen). Extreme weather conditions has increased the risk of injury, usually there are thick layers of ice all year long but due to increasing temperatures in the atmosphere and the sea the ice in becoming thinner and is increasing the number of people who fall through the ice, if a person survives falling through the ice they are faced with other health concerns (Brubaker). Increased water insecurity and failing infrastructure caused by climate change has created sanitation issues which has increased the amount of respiratory illnesses in many regions in Alaska, in 2005 pneumonia was the leading cause of hospitalizations (Brubaker). Many of the affected tribes are experiencing increased mental stress due to climate change and the problem of relocating but no policy or way to relocate (Brubaker). Stress has also increased on villages who face infrastructure damage due to melting permafrost, there are almost no regulations other than the Alaskan government recommended not building on permafrost or using extra layers of insulation that is used on foundation walls (EPA). Food insecurity has also created stress and health issues, families can not get enough food due to animals also relocating to get to a climate that is more suitable to them (Brubaker). Families also do not have a secure food system because their ways of storing food, underground ice cellar, are no longer frozen year long due to climate change, their cellars thaw in the summers leaving their food supply inedible (Brubaker). Subsistence Gathering of subsistence food continues to be an important economic and cultural activity for many Alaska Natives. In Utqiaġvik, Alaska in 2005, more than 91 percent of the Iñupiat households which were interviewed still participated in the local subsistence economy, compared with the approximately 33 percent of non-Iñupiat households who used wild resources obtained from hunting, fishing, or gathering. But, unlike many tribes in the contiguous United States, Alaska Natives do not have treaties with the United States that protect their subsistence rights, except for the right to harvest whales and other marine mammals. The Alaska Native Claims Settlement Act explicitly extinguished aboriginal hunting and fishing rights in the state of Alaska. See also Ancient Beringian List of Alaska Native Tribal Entities, the list of Native Villages and other "tribal entities" recognized by the US Bureau of Indian Affairs. Prehistory of Alaska First Alaskans Institute Indigenous Amerindian genetics Circumpolar peoples Indigenous peoples of the Pacific Northwest Coast Indigenous peoples of the Subarctic Indigenous peoples of Siberia Alaska Native Storytelling Alaska Equal Rights Act of 1945 Shamanism among Alaska Natives Women's suffrage in Alaska References Sources Further reading Chythlook-Sifsof, Callan J. "Native Alaska, Under Threat." (Op-Ed) The New York Times. June 27, 2013. External links Alaska Federation of Natives Alaska Native Health Board Alaska Native Heritage Center Alaska Native Language Center First Alaskans Institute Tlingit National Anthem, Alaska Natives Online Arctic Studies Center American culture	true	[ "Stegna is a village in the administrative district of Gmina Jednorożec, within Przasnysz County, Masovian Voivodeship, in east-central Poland.\n\nHistory\n\nStegna was a village by the Orzyc River initially settled in the early nineteenth century on the estate of Kazimierz Krasiński. It remained part of the Krasiński and Wawrzyńca estate until late in the nineteenth century.\n\nIn 1827 the settlement had 81 residents, and, by the middle of the nineteenth center, the village contained a dozen homes. By the late nineteenth century, the village counted 18 homes, 153 residents, on 260 land measures (mórg).\n\nDuring the fighting of World War I, Stegna lay on the front line of battle from the spring of 1915 to July 1915, and much of the village was destroyed. Postwar inhabitants rebuilt the village, and, a census taken post-war, in 1921, counted 28 homes and 156 inhabitants, including three Jews.\n\nThe village is incorporated under the municipality of Gmina Jednorożec, which was established in 1867.\n\nSee also\nKrasnosielc\nGmina Jednorożec\nJednorożec\n\nReferences\n\nStegna", "The Nineteenth Century was a British monthly literary magazine founded in 1877 by James Knowles. It is regarded by historians as 'one of the most important and distinguished monthlies of serious thought in the last quarter of the nineteenth century'.\n\nEditorial policy\n\nThe magazine was designed as an 'utterly impartial' forum for debate and discussion among leading intellectuals. Many of the early supporters and contributors to The Nineteenth Century were members of the Metaphysical Society, of which Knowles had been secretary. The first issue, for example, contained pieces by former Society members Lord Tennyson, William Gladstone and Cardinal Manning. It quickly became one of the most successful literary magazines in Britain, selling over 20,000 copies a month by early 1878.\n\nAn important part of the magazine's success was its regular 'Modern Symposium' section. This offered a series of essays and responses from different authors on subjects such as science or religion, collected together and published as a single structured debate. In this way the magazine quickly gained a reputation as a responsive forum where its contributors were given freedom to disagree without editorial interference. However, the magazine's focus on publishing established literary figures meant that it often excluded younger or unknown writers. Although it generally lived up to its reputation as a 'neutral ground', the magazine did at times abandon impartiality to support positions dear to Knowles himself. For example, it was famously at the forefront of the campaign to prevent the building of a Channel Tunnel between Britain and France in 1882.\n\nThe Nineteenth Century and After\nIn 1901 the title was changed to The Nineteenth Century and After. To emphasise this change, a two-headed Janus-symbol of an old man and a young woman (the former representing the nineteenth century and the latter the twentieth) was added to the cover. Knowles was prevented from simply renaming it The Twentieth Century because the copyright to that name was already owned by someone else, who allegedly demanded a ransom for the rights to use it. \n\nKnowles remained editor until his death, in 1908. During the twentieth century the magazine became more politically right-wing. \n\nThe magazine's title was finally changed to The Twentieth Century in 1951; it ceased publication in 1968.\n\nEditors\n1877-1908 - James Thomas Knowles\n1908-1919 - William Wray Skilbeck\n1919-1925 - George A.B. Dewar\n1925-1930 - Carrol Romer\n1930-1934 - Charles Reginald Schiller Harris\n1934-1938 - Arnold Wilson\n1938-1946 - Frederick Augustus Voigt\n1947-1952 - Michael Goodwin\n1952-195? - Bernard Wall\n\nDuring the magazine's final years it was run 'on a voluntary basis' by an editorial board chaired by Eirene Skilbeck, daughter of William Skilbeck and granddaughter of James Knowles.\n\nReferences\n\nExternal links \n Examples of The Nineteenth Century at The Internet Archive\n\nMonthly magazines published in the United Kingdom\nDefunct literary magazines published in the United Kingdom\nMagazines established in 1877\nMagazines disestablished in 1972\n1877 establishments in the United Kingdom" ]
[ "Alaska Natives", "ANCSA and since (1971 to present)", "What is the ANSCA?", "Alaska Native Claims Settlement Act (ANCSA),", "What did it do?", "settled land and financial claims for lands and resources which the peoples had lost to European Americans.", "Did it do anything else for the Natives?", "It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims.", "Were their lives better after this?", "claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples,", "What was the views of Europeans towards Natives?", "Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries,", "What changed during the late nineteenth century?", "The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906." ]	C_ea76d8cb68544f4eba487ac9acc63b00_0	How did hte Alaska Native Allotment act work?	7	How did hte Alaska Native Allotment act work?	Alaska Natives	In 1971 the United States Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the peoples had lost to European Americans. It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the US government in a different historic period than indigenous peoples in the colonies and early federal period. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries, when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. CANNOTANSWER	CANNOTANSWER	Alaska Natives or Alaskan Natives are indigenous peoples of Alaska and include Iñupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of Alaska Natives migrated into the area thousands of years ago, in at least two different waves. Some are descendants of the third wave of migration, in which people settled across the northern part of North America. They never migrated to southern areas. For this reason, genetic studies show they are not closely related to native peoples in South America. Alaska Natives came from Asia. Anthropologists have stated that their journey from Asia to Alaska was made possible through the Bering land bridge or by traveling through the sea. Throughout the Arctic and the circumpolar north, the ancestors of Alaska Natives established varying indigenous, complex cultures that have succeeded each other over time. They developed sophisticated ways to deal with the challenging climate and environment. Historic groups have been defined by their languages, which belong to several major language families. Today, Alaska Natives constitute more than 15% of the population of Alaska. List of peoples Below is a full list of the different Alaska Native peoples, who are largely defined by their historic languages (within each culture are different tribes): Ancient Beringian Alaskan Athabaskans Ahtna Deg Hit'an Dena'ina Gwich'in Hän Holikachuk Koyukon Lower Tanana Tanacross Upper Tanana Upper Kuskokwim (Kolchan) Eyak Tlingit Haida Tsimshian Eskimo Iñupiat, an Inuit group Yupik Siberian Yupik Yup'ik Cup'ik Nunivak Cup'ig Sugpiaq ~ Alutiiq Chugach Sugpiaq Koniag Alutiiq Aleut (Unangan) Demographics The Alaska Natives Commission estimated there were about 86,000 Alaska Natives living in Alaska in 1990, with another 17,000 who lived outside Alaska. A 2013 study by the Alaska Department of Labor and Workforce Development documented more than 120,000 Alaska Native people in Alaska. While the majority of Alaska Natives live in small villages or remote regional hubs such as Nome, Dillingham, and Bethel, the percentage who live in urban areas has been increasing. In 2010, 44% lived in urban areas, compared to 38% in the 2000 census. As of 2018, natives constitute 15.4% of the overall Alaskan population. History The modern history of Alaskan natives begins with the arrival of Europeans. Unusually for North America, Russians sailing from Siberia in the eighteenth century were the first to make contact. British and American traders, coming mostly from eastern settlements in North America, generally did not reach the area until the nineteenth century. In some cases, Christian missionaries were not active in Alaska until the twentieth century. Russian colonial period During an expedition, Vitus Bering spotted Alaska. Alaskan Natives first came into contact with Russians in the 18th century. Time of contact with Russians varied throughout each native group since the Alaskan natives groups were spread throughout Alaska. Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives in what became known as the Aleutian Islands. They started new settlements around trading posts, and Russian Orthodox missionaries were part of these. The Russian missionaries were the first persons to translate Christian scripture into Native languages, such as Tlingit. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska reflect this early history, as they are generally composed mostly of Alaska Natives. Rather than hunting and harvesting marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased. They forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. The growing competition between the trading companies, which merged into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives. As the animal populations declined, the Aleuts, already dependent on the new barter economy created by their fur trade with the Russians, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many. They also destroyed the peoples' boats and hunting gear, leaving them no means of survival. The greatest mortality was caused by the Aleuts' encounters with new diseases: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These had been endemic among the Europeans for centuries, but the Aleut had no immunity against the new diseases. Effects of Russian colonization The Russian Tsarist government expanded into Indigenous territory in present-day Alaska for its own geopolitical reasons. It consumed natural resources of the territory during the trading years, and Russian Orthodoxy was evangelized. Their movement into these populated areas of Indigenous communities altered the demographic and natural landscape. Historians have suggested that the Russian-American Company exploited Indigenous peoples as a source of inexpensive labor. The Russian-American Company not only used Indigenous populations for labor during the fur trade, but also held some as hostages to acquire iasak. Iasak, a form of taxation imposed by the Russians, was a tribute in the form of otter pelts. It was a taxation method the Russians had previously found useful in their early encounter with Indigenous communities of Siberia during the Siberian fur trade. Beaver pelts were also customary to be given to fur traders upon first contact with various communities. The Russian-American Company used military force on Indigenous families, taking them as hostage until male community members produced furs for them. Otter furs on Kodiak Island and Aleutian Islands enticed the Russians to start these taxations. Robbery and maltreatment in the form of corporal punishment and the withholding of food was also present upon the arrival of fur traders. Catherine the Great dissolved the giving of tribute in 1799, but her government initiated mandatory conscription of Indigenous men between the ages of 18 to 50 to become seal hunters strictly for the Russian American Company. This mandatory labor gave the Russian American Company an edge in competition with American and British fur traders. But the conscription separated men from their families and villages, thus altering and breaking down communities. With able-bodied men away on the hunt, villages were left with little protection as only women, children, and the elderly remained behind. In addition to changes that came with conscription, the spread of disease also altered the populations of Indigenous communities. Although records kept in the period were scarce, it has been said that 80% of the pre-contact population of the Aleut people were gone by 1800. Relationships between Indigenous women and fur traders increased as Indigenous men were away from villages. This resulted in marriages and children that would come to be known as Creole peoples, children who were Indigenous and Russian. To reduce hostilities with Aleutian communities, it became policy for fur traders to enter into marriage with Indigenous women. The Creole population increased in the territory controlled by the Russian American Company. The growth of the Russian Orthodox Church was another important tactic in the colonization and conversion of Indigenous populations. Ioann Veniaminov, who later became Saint Innocent of Alaska, was an important missionary who carried out the Orthodox Church's agenda to Christianize Indigenous populations. The church encouraged Creole children to follow Russian Orthodox Christianity, while the Russian American Company provided them with an education. Creole people were believed to have high levels of loyalty toward the Russian crown and Russian American Company. After completing their education, children were often sent to Russia, where they would study skills such as mapmaking, theology, and military intelligence. In the 1850's Russia lost much of its interest on Alaska. American colonialism Alaska has many natural resources. Alaska's natural resources along with its gold caught the attention of the United States. In 1867, the United States purchased Alaska from Russia. It did not consider the wishes of Alaska Natives or view them as citizens. The land that belonged to Alaska Natives was considered to be "open land", which could be claimed by white settlers without redress to the Alaska Natives living there. The only schools for Alaska Natives were those founded by religious missionaries. Most white settlers did not understand the sophisticated cultures the Alaska Natives had developed to live in that challenging place and considered them to be inferior to European Americans. The Americans imposed racial segregation and what were effectively Jim Crow laws applied against the Alaska Natives and treating them as second-class residents. Since Jim Crow law were imposed, it led to segregation amongst Alaskan Natives and Americans. Buildings would even have signs saying that no natives were allowed. There was also segregated schools. In 1880, there was a court case where a child was not allowed to attend a school with Americans because his step father was native. A child that was part native and part American would only be allowed to attend a school with American children if the family has abandoned their culture. This means that they could no longer speak their native language, wear traditional native clothing, be amongst other natives, eat native foods, or practice any native religion. In 1912, the Alaska Native Brotherhood (ANB) was formed to help fight for citizenship rights. The Alaska Native Sisterhood (ANS) was created in 1915. Also in 1915, the Alaska Territorial legislature passed a law allowing Alaskan Natives the right to vote - but on the condition that they give up their cultural customs and traditions. The Indian Citizenship Act, passed in 1924, gave all Native Americans United States citizenship. ANB began to hold a great deal of political power in the 1920s. They protested the segregation of Alaska Natives in public areas and institutions, and also staged boycotts. Alberta Schenck (Inupiaq) staged a well-publicized protest against segregation in a movie theater in 1944. With the help of Elizabeth Peratrovich (Tlingit), the Alaska Equal Rights Act of 1945 was passed, ending segregation in Alaska. In 1942, during World War II, the United States forced evacuation of around nine hundred Aleuts from the Aleutian Islands. The idea was to remove the Aleuts from a potential combat zone during World War II for their own protection, but European Americans living in the same area were not forced to leave. The removal was handled so poorly that many Aleuts died after they were evacuated; the elderly and children had the highest mortality rates. Survivors returned to the islands to find their homes and possessions destroyed or looted. Alaska became part of the United States in 1959 upon President Dwight D. Eisenhower recognizing Alaska as the 49th state. ANCSA and since (1971 to present) In 1971, with the support of Alaska Native leaders such as Emil Notti, Willie Hensley, and Byron Mallot, the U.S. Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the Alaska Natives had lost to European-Americans. It provided for the establishment of thirteen Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the U.S. government which occurred in a different historic period than its interactions during the period of westward expansion during the 19th-century. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. Climate Change Four indigenous tribes in Alaska, the Shishmaref, Kivalina, Shaktoolik and Newtok tribes, are being considered the first climate refugees for America, due to sea ice melting and increased wildfires in the regions (Bronen and Brubaker). The effects of climate change on the people of Alaska are extensive and include issues such as increased vulnerability to disease, mental health issues, injury, food insecurity, and water insecurity (Brubaker). According to the Environmental Protection Agency (EPA), the loss of sea ice will increase erosion area and further displace more native communities. The melting sea ice will also affect the migration of some animals that the tribes rely on and with the ice melting there will be no place to store the food that they do obtain (EPA). Due to the permafrost melting, the infrastructure that has been around in the past will become unstable and native villages will collapse (EPA). The Shishmaref, Kivalina, Shaktoolik and Newtok tribes are located on the west coast of Alaska and due to sea-level rise the villages are experiencing more severe storm surges that are eroding their coastlines (Bronen). There is no land for these tribes to move to that are already in the area they live in which forces these communities to migrate and change their whole way of living (Bronen). Governments are lacking in response to climate refugees, there are no policies in place to determine where these refugees should go or if they get aid to pay for the cost of traveling (Bronen). It is predicted that a climate event will submerge the tribes completely in less than fifteen years (Bronen). Extreme weather conditions has increased the risk of injury, usually there are thick layers of ice all year long but due to increasing temperatures in the atmosphere and the sea the ice in becoming thinner and is increasing the number of people who fall through the ice, if a person survives falling through the ice they are faced with other health concerns (Brubaker). Increased water insecurity and failing infrastructure caused by climate change has created sanitation issues which has increased the amount of respiratory illnesses in many regions in Alaska, in 2005 pneumonia was the leading cause of hospitalizations (Brubaker). Many of the affected tribes are experiencing increased mental stress due to climate change and the problem of relocating but no policy or way to relocate (Brubaker). Stress has also increased on villages who face infrastructure damage due to melting permafrost, there are almost no regulations other than the Alaskan government recommended not building on permafrost or using extra layers of insulation that is used on foundation walls (EPA). Food insecurity has also created stress and health issues, families can not get enough food due to animals also relocating to get to a climate that is more suitable to them (Brubaker). Families also do not have a secure food system because their ways of storing food, underground ice cellar, are no longer frozen year long due to climate change, their cellars thaw in the summers leaving their food supply inedible (Brubaker). Subsistence Gathering of subsistence food continues to be an important economic and cultural activity for many Alaska Natives. In Utqiaġvik, Alaska in 2005, more than 91 percent of the Iñupiat households which were interviewed still participated in the local subsistence economy, compared with the approximately 33 percent of non-Iñupiat households who used wild resources obtained from hunting, fishing, or gathering. But, unlike many tribes in the contiguous United States, Alaska Natives do not have treaties with the United States that protect their subsistence rights, except for the right to harvest whales and other marine mammals. The Alaska Native Claims Settlement Act explicitly extinguished aboriginal hunting and fishing rights in the state of Alaska. See also Ancient Beringian List of Alaska Native Tribal Entities, the list of Native Villages and other "tribal entities" recognized by the US Bureau of Indian Affairs. Prehistory of Alaska First Alaskans Institute Indigenous Amerindian genetics Circumpolar peoples Indigenous peoples of the Pacific Northwest Coast Indigenous peoples of the Subarctic Indigenous peoples of Siberia Alaska Native Storytelling Alaska Equal Rights Act of 1945 Shamanism among Alaska Natives Women's suffrage in Alaska References Sources Further reading Chythlook-Sifsof, Callan J. "Native Alaska, Under Threat." (Op-Ed) The New York Times. June 27, 2013. External links Alaska Federation of Natives Alaska Native Health Board Alaska Native Heritage Center Alaska Native Language Center First Alaskans Institute Tlingit National Anthem, Alaska Natives Online Arctic Studies Center American culture	false	[ "The Alaska Native Allotment Act of 1906, , enacted on May 17, 1906,permitted individual Alaska Natives to acquire title to up to of land in a manner similar to that afforded to Native Americans. The 1906 Allotment Act was repealed in 1971, when the Alaska Native Claims Settlement Act was passed.\n\nSee also\n Alaska Native Claims Settlement Act\n Outline of United States federal Indian law and policy\n\nReferences\nSources\n Case, David S. and David A. Voluck. (2002). Alaska Natives and American Laws, 2nd ed. Fairbanks, AK: University of Alaska Press.\n \"Early Alaska Native Land Cases and Acts \| Federal Indian Law for Alaska Tribes\". \n www.uaf.edu. Retrieved 2021-11-10.\n \"Programs: Lands and Realty: Alaska: Land Transfer: Alaska Native Allotment Act \| Bureau of Land Management\". www.blm.gov. Retrieved 2021-11-25.\n\nCitations\n\nwww.uaf.edu.\n\n1906 in Alaska\n1906 in law\nAlaska Natives and United States law\nLegal history of Alaska\nUnited States federal Native American legislation\nUnited States repealed legislation", "The Historical Thesaurus of English (HTE) is the largest thesaurus in the world. It is called a historical thesaurus as it arranges the whole vocabulary of English, from the earliest written records in Old English to the present, according to the first documented occurrence of a word in the entire history of the English language. The HTE was conceived and begun in 1965 by the English Language & Linguistics department of the University of Glasgow, who have ever since continued to compile the thesaurus. From the 1980s onwards the project was moved from paper-based records to a computer database.\n\nToday, the HTE is available to the public online, but a print version, the Historical Thesaurus of the Oxford English Dictionary (HTOED), was published in 2009.\n\nMain project: The Historical Thesaurus of English (HTE) \nThe Historical Thesaurus of English (HTE) is a complete database of all the words in the Oxford English Dictionary and other dictionaries (including Old English), arranged by semantic field and date. In this way, the HTE arranges the whole vocabulary of English, from the earliest written records in Old English to the present, alongside dates of use.\n\nIt is the first historical thesaurus to be compiled for any of the world's languages and contains 800,000 meanings for 600,000 words, within 230,000 categories. As the HTE website states, \"in addition to providing hitherto unavailable information for linguistic and textual scholars, the Historical Thesaurus online is a rich resource for students of social and cultural history, showing how concepts developed through the words that refer to them.\"\n\nStructure \nThe work is divided into three main sections: the External World, the Mind, and Society. These are broken down into successively narrower domains. The text eventually discriminates more than 236,000 categories.\nThe second order categories are:\n\nI. The External World\n \n The earth\n Life\n Health and disease\n People\n Animals\n Plants\n Food and drink\n Textiles and clothing\n Physical sensation\n Matter\n Existence and causation\n Space\n Time\n Movement\n Action/operation\n Relative properties\n The supernatural\n\nII. The Mind\n \n Mental capacity\n Attention and judgment\n Goodness and badness\n Emotion\n Will\n Possession\n Language\n\nIII. Society\n \n Society and the community\n Inhabiting and dwelling\n Armed hostility\n Authority\n Law\n Morality\n Education\n Faith\n Communication\n Travel and travelling\n Occupation and work\n Trade and finance\n Leisure\n\nHistory \nThe ambitious project was announced at a 1965 meeting of the Philological Society by its originator, Michael Samuels. Work on the HTE started in the same year.\n\nIn 2017, the University of Glasgow was awarded the Queen's Anniversary Prize for Higher Education for the HTE.\n\nA second edition of the online HTE is currently in progress and is expected to be launched in late 2020. Work is released on the freely-available HTE website when available.\n\nPrint edition: Historical Thesaurus of the Oxford English Dictionary (HTOED) \n\nOn 22 October 2009, after 44 years of work, version 1.0 of the HTE was published by Oxford University Press in a two-volume slipcased set as the Historical Thesaurus of the Oxford English Dictionary (HTOED). The two hardcover volumes together total nearly 4,500 pages.\n\nReferences\n\nExternal links\n \n\nClassification systems\nHistory of the English language\nKnowledge representation\nLanguage histories\nThesauri\nWorks derived from the Oxford English Dictionary" ]
[ "Alaska Natives", "ANCSA and since (1971 to present)", "What is the ANSCA?", "Alaska Native Claims Settlement Act (ANCSA),", "What did it do?", "settled land and financial claims for lands and resources which the peoples had lost to European Americans.", "Did it do anything else for the Natives?", "It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims.", "Were their lives better after this?", "claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples,", "What was the views of Europeans towards Natives?", "Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries,", "What changed during the late nineteenth century?", "The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906.", "How did hte Alaska Native Allotment act work?", "I don't know." ]	C_ea76d8cb68544f4eba487ac9acc63b00_0	Did they live on reservations?	8	Did hte Alaska Native live on reservations?	Alaska Natives	In 1971 the United States Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the peoples had lost to European Americans. It provided for the establishment of 13 Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the US government in a different historic period than indigenous peoples in the colonies and early federal period. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries, when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. CANNOTANSWER	It was repealed in 1971, following ANSCA, at which time reservations were ended.	Alaska Natives or Alaskan Natives are indigenous peoples of Alaska and include Iñupiat, Yupik, Aleut, Eyak, Tlingit, Haida, Tsimshian, and a number of Northern Athabaskan cultures. They are often defined by their language groups. Many Alaska Natives are enrolled in federally recognized Alaska Native tribal entities, who in turn belong to 13 Alaska Native Regional Corporations, who administer land and financial claims. Ancestors of Alaska Natives migrated into the area thousands of years ago, in at least two different waves. Some are descendants of the third wave of migration, in which people settled across the northern part of North America. They never migrated to southern areas. For this reason, genetic studies show they are not closely related to native peoples in South America. Alaska Natives came from Asia. Anthropologists have stated that their journey from Asia to Alaska was made possible through the Bering land bridge or by traveling through the sea. Throughout the Arctic and the circumpolar north, the ancestors of Alaska Natives established varying indigenous, complex cultures that have succeeded each other over time. They developed sophisticated ways to deal with the challenging climate and environment. Historic groups have been defined by their languages, which belong to several major language families. Today, Alaska Natives constitute more than 15% of the population of Alaska. List of peoples Below is a full list of the different Alaska Native peoples, who are largely defined by their historic languages (within each culture are different tribes): Ancient Beringian Alaskan Athabaskans Ahtna Deg Hit'an Dena'ina Gwich'in Hän Holikachuk Koyukon Lower Tanana Tanacross Upper Tanana Upper Kuskokwim (Kolchan) Eyak Tlingit Haida Tsimshian Eskimo Iñupiat, an Inuit group Yupik Siberian Yupik Yup'ik Cup'ik Nunivak Cup'ig Sugpiaq ~ Alutiiq Chugach Sugpiaq Koniag Alutiiq Aleut (Unangan) Demographics The Alaska Natives Commission estimated there were about 86,000 Alaska Natives living in Alaska in 1990, with another 17,000 who lived outside Alaska. A 2013 study by the Alaska Department of Labor and Workforce Development documented more than 120,000 Alaska Native people in Alaska. While the majority of Alaska Natives live in small villages or remote regional hubs such as Nome, Dillingham, and Bethel, the percentage who live in urban areas has been increasing. In 2010, 44% lived in urban areas, compared to 38% in the 2000 census. As of 2018, natives constitute 15.4% of the overall Alaskan population. History The modern history of Alaskan natives begins with the arrival of Europeans. Unusually for North America, Russians sailing from Siberia in the eighteenth century were the first to make contact. British and American traders, coming mostly from eastern settlements in North America, generally did not reach the area until the nineteenth century. In some cases, Christian missionaries were not active in Alaska until the twentieth century. Russian colonial period During an expedition, Vitus Bering spotted Alaska. Alaskan Natives first came into contact with Russians in the 18th century. Time of contact with Russians varied throughout each native group since the Alaskan natives groups were spread throughout Alaska. Arriving from Siberia by ship in the mid-eighteenth century, Russians began to trade with Alaska Natives in what became known as the Aleutian Islands. They started new settlements around trading posts, and Russian Orthodox missionaries were part of these. The Russian missionaries were the first persons to translate Christian scripture into Native languages, such as Tlingit. In the 21st century, the numerous congregations of Russian Orthodox Christians in Alaska reflect this early history, as they are generally composed mostly of Alaska Natives. Rather than hunting and harvesting marine life, the Russians forced the Aleuts to do the work for them. As word spread of the riches in furs to be had, competition among Russian companies increased. They forced the Aleuts into slavery. Catherine the Great, who became Empress in 1763, proclaimed good will toward the Aleut and urged her subjects to treat them fairly. The growing competition between the trading companies, which merged into fewer, larger and more powerful corporations, created conflicts that aggravated the relations with the indigenous populations. Over the years, the situation became catastrophic for the natives. As the animal populations declined, the Aleuts, already dependent on the new barter economy created by their fur trade with the Russians, were increasingly coerced into taking greater risks in the dangerous waters of the North Pacific to hunt for more otter. As the Shelikhov-Golikov Company and later Russian-American Company developed as a monopoly, it used skirmishes and systematic violence as a tool of colonial exploitation of the indigenous people. When the Aleut revolted and won some victories, the Russians retaliated, killing many. They also destroyed the peoples' boats and hunting gear, leaving them no means of survival. The greatest mortality was caused by the Aleuts' encounters with new diseases: during the first two generations (1741/1759-1781/1799 AD) of Russian contact, 80 percent of the Aleut population died from Eurasian infectious diseases. These had been endemic among the Europeans for centuries, but the Aleut had no immunity against the new diseases. Effects of Russian colonization The Russian Tsarist government expanded into Indigenous territory in present-day Alaska for its own geopolitical reasons. It consumed natural resources of the territory during the trading years, and Russian Orthodoxy was evangelized. Their movement into these populated areas of Indigenous communities altered the demographic and natural landscape. Historians have suggested that the Russian-American Company exploited Indigenous peoples as a source of inexpensive labor. The Russian-American Company not only used Indigenous populations for labor during the fur trade, but also held some as hostages to acquire iasak. Iasak, a form of taxation imposed by the Russians, was a tribute in the form of otter pelts. It was a taxation method the Russians had previously found useful in their early encounter with Indigenous communities of Siberia during the Siberian fur trade. Beaver pelts were also customary to be given to fur traders upon first contact with various communities. The Russian-American Company used military force on Indigenous families, taking them as hostage until male community members produced furs for them. Otter furs on Kodiak Island and Aleutian Islands enticed the Russians to start these taxations. Robbery and maltreatment in the form of corporal punishment and the withholding of food was also present upon the arrival of fur traders. Catherine the Great dissolved the giving of tribute in 1799, but her government initiated mandatory conscription of Indigenous men between the ages of 18 to 50 to become seal hunters strictly for the Russian American Company. This mandatory labor gave the Russian American Company an edge in competition with American and British fur traders. But the conscription separated men from their families and villages, thus altering and breaking down communities. With able-bodied men away on the hunt, villages were left with little protection as only women, children, and the elderly remained behind. In addition to changes that came with conscription, the spread of disease also altered the populations of Indigenous communities. Although records kept in the period were scarce, it has been said that 80% of the pre-contact population of the Aleut people were gone by 1800. Relationships between Indigenous women and fur traders increased as Indigenous men were away from villages. This resulted in marriages and children that would come to be known as Creole peoples, children who were Indigenous and Russian. To reduce hostilities with Aleutian communities, it became policy for fur traders to enter into marriage with Indigenous women. The Creole population increased in the territory controlled by the Russian American Company. The growth of the Russian Orthodox Church was another important tactic in the colonization and conversion of Indigenous populations. Ioann Veniaminov, who later became Saint Innocent of Alaska, was an important missionary who carried out the Orthodox Church's agenda to Christianize Indigenous populations. The church encouraged Creole children to follow Russian Orthodox Christianity, while the Russian American Company provided them with an education. Creole people were believed to have high levels of loyalty toward the Russian crown and Russian American Company. After completing their education, children were often sent to Russia, where they would study skills such as mapmaking, theology, and military intelligence. In the 1850's Russia lost much of its interest on Alaska. American colonialism Alaska has many natural resources. Alaska's natural resources along with its gold caught the attention of the United States. In 1867, the United States purchased Alaska from Russia. It did not consider the wishes of Alaska Natives or view them as citizens. The land that belonged to Alaska Natives was considered to be "open land", which could be claimed by white settlers without redress to the Alaska Natives living there. The only schools for Alaska Natives were those founded by religious missionaries. Most white settlers did not understand the sophisticated cultures the Alaska Natives had developed to live in that challenging place and considered them to be inferior to European Americans. The Americans imposed racial segregation and what were effectively Jim Crow laws applied against the Alaska Natives and treating them as second-class residents. Since Jim Crow law were imposed, it led to segregation amongst Alaskan Natives and Americans. Buildings would even have signs saying that no natives were allowed. There was also segregated schools. In 1880, there was a court case where a child was not allowed to attend a school with Americans because his step father was native. A child that was part native and part American would only be allowed to attend a school with American children if the family has abandoned their culture. This means that they could no longer speak their native language, wear traditional native clothing, be amongst other natives, eat native foods, or practice any native religion. In 1912, the Alaska Native Brotherhood (ANB) was formed to help fight for citizenship rights. The Alaska Native Sisterhood (ANS) was created in 1915. Also in 1915, the Alaska Territorial legislature passed a law allowing Alaskan Natives the right to vote - but on the condition that they give up their cultural customs and traditions. The Indian Citizenship Act, passed in 1924, gave all Native Americans United States citizenship. ANB began to hold a great deal of political power in the 1920s. They protested the segregation of Alaska Natives in public areas and institutions, and also staged boycotts. Alberta Schenck (Inupiaq) staged a well-publicized protest against segregation in a movie theater in 1944. With the help of Elizabeth Peratrovich (Tlingit), the Alaska Equal Rights Act of 1945 was passed, ending segregation in Alaska. In 1942, during World War II, the United States forced evacuation of around nine hundred Aleuts from the Aleutian Islands. The idea was to remove the Aleuts from a potential combat zone during World War II for their own protection, but European Americans living in the same area were not forced to leave. The removal was handled so poorly that many Aleuts died after they were evacuated; the elderly and children had the highest mortality rates. Survivors returned to the islands to find their homes and possessions destroyed or looted. Alaska became part of the United States in 1959 upon President Dwight D. Eisenhower recognizing Alaska as the 49th state. ANCSA and since (1971 to present) In 1971, with the support of Alaska Native leaders such as Emil Notti, Willie Hensley, and Byron Mallot, the U.S. Congress passed the Alaska Native Claims Settlement Act (ANCSA), which settled land and financial claims for lands and resources which the Alaska Natives had lost to European-Americans. It provided for the establishment of thirteen Alaska Native Regional Corporations to administer those claims. Similar to the separately defined status of the Canadian Inuit and First Nations in Canada, which are recognized as distinct peoples, in the United States, Alaska Natives are in some respects treated separately by the government from other Native Americans in the United States. This is in part related to their interactions with the U.S. government which occurred in a different historic period than its interactions during the period of westward expansion during the 19th-century. Europeans and Americans did not have sustained encounters with the Alaska Natives until the late nineteenth and early twentieth centuries when many were attracted to the region in gold rushes. The Alaska Natives were not allotted individual title in severalty to land under the Dawes Act of 1887 but were instead treated under the Alaska Native Allotment Act of 1906. It was repealed in 1971, following ANSCA, at which time reservations were ended. Another characteristic difference is that Alaska Native tribal governments do not have the power to collect taxes for business transacted on tribal land, per the United States Supreme Court decision in Alaska v. Native Village of Venetie Tribal Government (1998). Except for the Tsimshian, Alaska Natives no longer hold reservations but do control some lands. Under the Marine Mammal Protection Act of 1972, Alaska Natives are reserved the right to harvest whales and other marine mammals. Climate Change Four indigenous tribes in Alaska, the Shishmaref, Kivalina, Shaktoolik and Newtok tribes, are being considered the first climate refugees for America, due to sea ice melting and increased wildfires in the regions (Bronen and Brubaker). The effects of climate change on the people of Alaska are extensive and include issues such as increased vulnerability to disease, mental health issues, injury, food insecurity, and water insecurity (Brubaker). According to the Environmental Protection Agency (EPA), the loss of sea ice will increase erosion area and further displace more native communities. The melting sea ice will also affect the migration of some animals that the tribes rely on and with the ice melting there will be no place to store the food that they do obtain (EPA). Due to the permafrost melting, the infrastructure that has been around in the past will become unstable and native villages will collapse (EPA). The Shishmaref, Kivalina, Shaktoolik and Newtok tribes are located on the west coast of Alaska and due to sea-level rise the villages are experiencing more severe storm surges that are eroding their coastlines (Bronen). There is no land for these tribes to move to that are already in the area they live in which forces these communities to migrate and change their whole way of living (Bronen). Governments are lacking in response to climate refugees, there are no policies in place to determine where these refugees should go or if they get aid to pay for the cost of traveling (Bronen). It is predicted that a climate event will submerge the tribes completely in less than fifteen years (Bronen). Extreme weather conditions has increased the risk of injury, usually there are thick layers of ice all year long but due to increasing temperatures in the atmosphere and the sea the ice in becoming thinner and is increasing the number of people who fall through the ice, if a person survives falling through the ice they are faced with other health concerns (Brubaker). Increased water insecurity and failing infrastructure caused by climate change has created sanitation issues which has increased the amount of respiratory illnesses in many regions in Alaska, in 2005 pneumonia was the leading cause of hospitalizations (Brubaker). Many of the affected tribes are experiencing increased mental stress due to climate change and the problem of relocating but no policy or way to relocate (Brubaker). Stress has also increased on villages who face infrastructure damage due to melting permafrost, there are almost no regulations other than the Alaskan government recommended not building on permafrost or using extra layers of insulation that is used on foundation walls (EPA). Food insecurity has also created stress and health issues, families can not get enough food due to animals also relocating to get to a climate that is more suitable to them (Brubaker). Families also do not have a secure food system because their ways of storing food, underground ice cellar, are no longer frozen year long due to climate change, their cellars thaw in the summers leaving their food supply inedible (Brubaker). Subsistence Gathering of subsistence food continues to be an important economic and cultural activity for many Alaska Natives. In Utqiaġvik, Alaska in 2005, more than 91 percent of the Iñupiat households which were interviewed still participated in the local subsistence economy, compared with the approximately 33 percent of non-Iñupiat households who used wild resources obtained from hunting, fishing, or gathering. But, unlike many tribes in the contiguous United States, Alaska Natives do not have treaties with the United States that protect their subsistence rights, except for the right to harvest whales and other marine mammals. The Alaska Native Claims Settlement Act explicitly extinguished aboriginal hunting and fishing rights in the state of Alaska. See also Ancient Beringian List of Alaska Native Tribal Entities, the list of Native Villages and other "tribal entities" recognized by the US Bureau of Indian Affairs. Prehistory of Alaska First Alaskans Institute Indigenous Amerindian genetics Circumpolar peoples Indigenous peoples of the Pacific Northwest Coast Indigenous peoples of the Subarctic Indigenous peoples of Siberia Alaska Native Storytelling Alaska Equal Rights Act of 1945 Shamanism among Alaska Natives Women's suffrage in Alaska References Sources Further reading Chythlook-Sifsof, Callan J. "Native Alaska, Under Threat." (Op-Ed) The New York Times. June 27, 2013. External links Alaska Federation of Natives Alaska Native Health Board Alaska Native Heritage Center Alaska Native Language Center First Alaskans Institute Tlingit National Anthem, Alaska Natives Online Arctic Studies Center American culture	true	[ "Reservations in the United States, known as Indian reservations, are sovereign Native American territories that are managed by a tribal government in cooperation with the federal Bureau of Indian Affairs, a branch of the Department of the Interior, located in Washington, DC. There are 334 reservations in the United States today. As of 2008, almost a third of Native Americans in the United States live on reservations, totaling approximately 700,000 individuals. About half of all Native Americans living on reservations are concentrated on the ten largest reservations.\n\nReservations vary drastically in their size, population, political economy, culture and traditions. Despite such variation, all reservations share similar histories of colonization, and face similar contemporary challenges. One of these challenges is poverty. In 2010, the poverty rate on US reservations was 28.4 percent, compared with 22 percent among all Native Americans (on and off reservations). The U.S. poverty rate among all groups is much lower, at 12.7 percent as of 2016. In addition to poverty rates, reservations are hindered by education levels significantly lower than the national average. Poor healthcare services, low employment, substandard housing, and deficient economic infrastructure are also persistent problems.\n\nBackground \n\nThe official poverty rate on reservations is 28.4 percent, compared with 12.7 nationally. About 36 percent of families with children are below the poverty line on reservations, compared with 9.2 percent of families nationally. These figures are absolute poverty rates as determined by the US Census. In 2010, the poverty threshold for a family of four with two children was $22,113. Some reservations in Washington, California, Wisconsin, Michigan, North Dakota, South Dakota, Arizona, and New Mexico fare worse, with more than 60 percent of residents living in poverty.\n\nIncome levels on some reservations are extremely low. Five of the lowest per capita incomes in the country are found on reservations. Allen, South Dakota, on the Pine Ridge Reservation, has a low per capita income in the country, at $1,539 per year. The Lummi Nation gives their members zero per capita, even though they have a thriving Casino on their Reservation; the Silver Reef Casino, located 20 minutes from the Canadian Boarder. Overall, the per capita income of American Indians on Reservations is half that of all Americans. The median income on reservations is $14,097, compared to $41,994 nationally.\n\nPoverty rates on the ten largest reservations \n\nFigures from the 2000 census.\n\nExtreme poverty \n\nThe extreme poverty rate of a population is the percentage of families earning less than half of the poverty threshold. For a family of four in 2010, the extreme poverty threshold was approximately $11,000 or less than $3,000 per person. On large reservations, the extreme poverty rate is as much as six times the national rate. On average, the extreme poverty rate on the largest reservations is almost four times the national rate. A breakdown is provided in the following table.\n\nExtreme poverty rates on the ten largest reservations \n\nFigures from the 2000 census.\n\nChanges over time \n\nHistoric data on poverty on reservations is extremely limited because of the tumultuous history of gathering data in these areas. American Indians were not included in census counts until 1840. Reservation-specific data was only produced following 1870.\n\nIn the 1970s, poverty on reservations decreased by as much as 20 percent on many reservations. In the 1980s, however, these gains were lost, and rates rose to levels comparable to those in the 2000. Through 2016, though, rates again rose, and rates in 2000 were very close to those in 1969. Explanations for these fluctuations suggest a need for further research, and careful consideration of how data was gathered, to ensure that figures reflect true changes in poverty rates rather than changes in reporting.\n\nChanges in poverty rates on largest reservations \n\nHistorical data not available for Uintah and Ouray and Tohono O'odham Reservations.\nFigures from Trosper (1996).\n\nHistorical factors\n\nEarly development \n\nFollowing the American Revolution, the United States' strategy for native relations was to purchase Native American land by treaties. The United States also sought to assimilate Native Americans. The reservation system was created following the expansion of the United States into tribal lands. White settlers were considered unable to live alongside native peoples, and so various treaties continually limited the lands Native people were \"allowed\" to inhabit. This effort started under the presidency of Andrew Jackson with the Indian Removal Act of 1830, which created the first reservations. As forced relocation progressed, many tribes lost access to tribal traditional lifeways, which centered around community living and hunting and gathering.\n\nDuring this violent period, tribes were often forced to move to geographic areas unfamiliar to them, most commonly from Eastern states to Western states. Reservations were created on lands that were deemed worthless to white settlers. Reservations were placed on lands considered resource deficient, unfit for agriculture or cultivation, and which were isolated from urban centers and transportation networks. Mainstream political discourse of this era favored removing tribes from areas populated by or desirable to the white population. During the nineteenth century, many Native American nations resisted forced migration by mounting upheavals which often turned bloody. Known as the American Indian Wars, these battles between American settlers or the United States government and Native Americans culminated in the Massacre at Wounded Knee of 1890, during which US military forces killed more than 150 Lakota men, women, and children.\n\nDawes Act era \nAs the white population began moving West, into the land formerly assigned to tribes, government policy underwent a transformation. In 1887, the Dawes Act was passed. The Dawes Act represented a shift in federal policy towards American Indians. This legislation divided tribal lands into individual parcels to be assigned to individual tribal members. The net result was more land available for non-native settlers, and less land held by American Indians. Policies starting with and following the Dawes act attempted to eliminate native lifeways, cultures, and communities. Political leaders asserted that forcing American Indians to hold private property would assimilate them into American culture. To facilitate assimilation, they were given food, housing, and clothing. The explicit aim of these policies were to forcibly eliminate traditional cultures, and \"kill the Indian, save the man\".\n\nDuring this era, Native American children were removed from the home and sent to boarding schools, where they were given Western clothes, food, and education. They were allowed little to no communication with families, and siblings were often separated. Boarding school students were prohibited from practicing tribal traditional lifeways and from speaking indigenous languages. In several instances when students were caught maintaining Native culture or language, students were physically abused.\n\nForced assimilation took away the livelihoods of many Native people, without providing anything in its place. Tribal members were prohibited from making a living through hunting, fishing, and arts. Furthermore, native people who provided educational, religious, medical, and culinary services to their communities were replaced with non-native, government and Church-sponsored individuals. In the early twentieth century, tribes were further hindered by the Indian Reorganization Act, which imposed particular forms of governance and organization for tribal leadership. Traditional systems of social and political organization were replaced by forced constitutional forms and acted as a tool for further assimilation.\n\nForced assimilation policies explicitly aimed to forcibly strip Native people of their history, identities and their livelihoods. Because the land on which reservations were created tended to be barren, resource deficient land, there was little chance of developing economically viable agricultural enterprises. Prohibition of tribal traditional lifeways combined with the remote locations of the reservations created very few opportunities for economic solvency within reservations and for very few opportunities for economic interaction with white settlements.\n\nContemporary policy \nIn the last half-century, the principle guiding federal Native American policy became self-determination. The logic of this principle is to let tribes set their own policies, set their own visions, and determine their own futures. It was largely inspired by American Indian activists since the 1970s. Self-determination recognizes reservations as sovereign nations within US boundaries, meaning they are able to make and enforce their own laws and regulations, are independent from states' laws and regulations, and must abide by most federal laws.\n\nAlmost all boarding schools were eliminated and replaced with a combination of federally and locally managed day schools. Assistance programs aimed at forcing cultural change on tribal members were replaced with general assistance programs comparable to those available to the general population. However, by the time these changes occurred, traditional cultures had been severely and violently reduced, local economies had not been developed, families had been broken apart, and the stage for persistent poverty was set. Self-determination represented an important ideological shift in government policy, but did not change conditions of poverty and limited opportunities.\n\nConcentration Effects \nThe history of the reservation system has resulted in concentrated poverty. Regardless of urbanicity, areas of concentrated poverty tend to have higher crime rates, underperforming schools, poor housing, poor health conditions, limited private services, and few job opportunities. In addition, residents of these areas must contend with a geographic separation from areas of opportunity. Sociologist Gary Sandefur has called reservations the \"first underclass areas\" because of their concentrated poverty, high unemployment, and low educational attainment levels. Sociologist Loïc Wacquant has described reservations as areas of \"socio-spatial seclusion,\" where residents are corralled and isolated, and that the reservations were created to immobilize native peoples.\n\nEmployment \n\nThe official unemployment rate on reservations as of the 2000 census was 14 percent, but there is much variation. Reservations nearer urban centers, especially on the East Coast, tend to have employment rates similar to or higher than the national average. On many large, rural reservations, though, a majority of adults are unemployed or out of the workforce. On reservations in California, Oregon, Nevada, Arizona, Utah, Florida, Washington, New Mexico, Nebraska, Montana, and Alaska, reservation unemployment rates are above 25 percent. On some California reservations, the number exceeds 75 percent.\n\nOut of the adult population without jobs, unemployment rates only include those who are both able to work and are actively looking for work. On reservations, a much larger portion is out of the labor force entirely, meaning they either are unable to work or are not actively looking for employment. Because of the severity of the lack of employment opportunities, many residents are not actively seeking work. People tend to hear of job opportunities through informal networks, rather than through conventional postings and applications. As such, an individual might be desiring employment, but not take the proactive steps needed to be defined as \"looking for work.\" Some researchers have suggested that asking reservation residents if they seek job opportunities when they occur would be a more accurate measure of unemployment than asking if they had applied for work recently.\n\nUnemployment Rates on the Ten Largest Reservations \n\nFigures from the 2000 census.\n\nThere are very few jobs available on the reservation. Schools are the biggest employer, followed by various public service positions with the postal service, commodity and provisions office, and tribal police forces. Troublesomely, the lack of quality educational systems and job opportunities has created a reservation workforce that lacks the training and education demanded by many professions. Because reservation residents have not had the opportunity to receive formal training and credentialing, they are often not eligible for what few jobs are available. Even tribal leadership and administrative positions are occasionally staffed by individuals from off the reservation, or from other reservations, because of required levels of training or experience.\n\nRural areas tend to lack jobs with promotion opportunities, and rural residents often must migrate to cities for employment and advancement opportunity. However, reservation residents rarely are able to meet the educational and requirements of jobs off the reservation, and in addition, often encounter discrimination from employers who are hesitant to hire reservation natives.\n\nThe lack of formally educated, experienced workers and entrepreneurs also opens reservations up to exploitation from outside firms looking to capitalize on the resources of reservation land. Although this land is often incredibly isolated geographically and absent of natural resources or productive potential, some areas do hold potential for development. Such development, though, requires a substantial amount be invested at the onset to build necessary infrastructure. Tribes are at a disadvantage, not having the resources or specialists needed. As such, they contract development out to firms off the reservation, who keep a great majority of the profits.\n\nAlthough the tribe usually receives a nominal amount of profits, they lose the rights to their land and the potential for truly sovereign development. The rule of native lands by non-natives off the reservation is particularly prevalent on many large reservations in the Midwest and Rocky Mountain regions. Although the land provides opportunity for ranching, few reservation residents possess the capital required to raise cattle. Instead, they lease the land to non-native ranchers for minimal amounts. As the reservation residents do not have alternative ways of making money on the reservation, ranchers can drive the lease rates down to mere dollars a year.\n\nEducation \n\nThe boarding school system had the doubly negative effect of inadequately educating a generation of reservation youth while simultaneously fostering a resentment of formal education. Through the boarding school era, Westernized education was synonymous with cultural destruction. Even since the abolition of boarding schools, levels of formal educational attainment have remained very low. Overall, just over half of the adults on reservations have a high school diploma. Reservation residents' high school graduation rate is half that of all American Indians in the United States. On the Gila River Reservation in Arizona, which has one of the lowest educational attainment levels in the country, barely one third of adults possess this credential.\n\nOn reservations, more individuals have less than a ninth grade education than have a college diploma. More than 10 percent lack any high school education. It is not uncommon on reservations in California and New Mexico to have more than half the population with less than a ninth grade education. In North Dakota, Nevada, California, New Mexico, South Dakota, Utah, Colorado, and Wyoming, many reservations have over three quarters of their population without high school degrees. This is compared to 12 percent nationwide.\n\nBanking institutions \n\nThere are few commercial banks or lending institutions located on reservations. Reservations are generally seen as very high-risk areas to place financial institutions, because of the lack of potential investors and overall dearth of economic activity. As of 2008, there were only six banks and seven credit unions operated by American Indians on reservations. Without formal financial institutions, many reservation residents are unable to save or invest what income they do have, and do not have access to loans for homes, cars, or businesses.\n\nDue to the lack of commercial establishments, non-cash transactions are common on some reservations. Although a bartering system can function within the reservation community, it inhibits economic interaction with those off the reservation or on other reservations, meaning, non-cash economies serve to further isolate reservation residents from the national or global economy.\n\nGeographic isolation \n\nFor employment, education, and financial opportunity, many reservation residents are expected to leave the reservation. However, reservations were placed intentionally far from urban centers, and many of the roads serving these areas are substandard. Many key roads were never designed or built for vehicular traffic. According to the Bureau of Indian Affairs, only 15% of the nearly 28,000 miles of reservation roads are in acceptable conditions and pass current safety regulations.\n\nFurthermore, almost a quarter of reservation households do not have access to a vehicle. However, barely one percent of reservation residents rely on any kind of public transportation. Although the federal government has made funds available to improve transportation on reservations, local transportation authorities have not taken advantage of these monies. These local authorities often lack the human capital needed to engineer and carry out improvements. The lack of safe roads and adequate transportation further isolates reservation communities and strengthens the neighborhood effects of concentrated poverty.\n\nProblematic behaviors \n\nThe rate of violent crime on reservations is more than twice the national average. Although not heavily studied, gang violence is a problem on the Navajo and Pine Ridge Reservations. The extent to such activity on other reservations is a topic for future inquiry, although almost one fourth of a national sample of reservation residents report gang activity in their communities.\n\nThe use of drugs, alcohol, and cigarettes on reservations is also higher than national averages. This is especially true among youth, with the rate of youth drug use among reservation populations more than twice that of the general population. The suicide rate among reservation residents is twice that of the general population, suggesting the troubling psychological impact of living in areas of extreme and concentrated poverty. In fact, among youth ages 15–24, suicide is the leading cause of death on reservations.\n\nGovernment assistance\n\nTypes of assistance \n\nReservation residents are eligible for all federal social assistance programs, including Temporary Aid for Needy Families (TANF), Supplemental Security Income (SSI), and food stamp programs. In addition, Food Distribution on Indian Reservations (FDPIR), often called \"commodities,\" provides in-kind handouts of food. This program is the result of treaties established in the nineteenth and twentieth centuries that included provisions that the government would provide food and shelter for tribal members. Each reservation has a commodities office, from which monthly food supplies are given out.\n\nUnfortunately, this food tends to be nonperishable, heavy on simple starches, and nutritionally deficient, thus contributing to high rates of obesity and diabetes on reservations. Public assistance does not effectively reduce poverty on the reservation. Although it may keep many families from being completely unable to survive, it does not build economies, reinstitute cultural institutions, or create a source of pride for reservation residents.\n\nPercent receiving aid \n\nThe percent of reservation residents eligible for government aid tends to be much higher than that of the general population. On the ten largest reservations, the percent of residents receiving cash assistance ranges from four to fifteen times the national average. In addition, a higher portion of reservation residents are eligible for Supplemental Security Income. On average, ten percent of the population on the largest reservations are eligible for SSI benefits, compared with eight percent of all Americans. The percentage of reservation residents eligible for social security benefits is comparable to that of the national population.\n\nProblems with existing data \nRelatively little current, valid data exists about today's reservations. Annual demographic surveys generally do not have a large enough reservation-based sample to present data. Researchers gathering data on American Indians rarely differentiate between reservation residents and non-reservation residents, even though there are huge differences in lifestyles and often much tension between the groups. Furthermore, the rural nature of many reservations, the lack of available contact information and telephone numbers, protective rules by tribal councils, and a distrust of outsiders present data collection challenges. Lastly, an overwhelming majority of research focuses on the Pine Ridge and Navajo Reservations, suggesting a need for more comparative analyses of conditions on individual reservations.\n\nGovernment Assistance on the Ten Largest Reservations \n\nFigures from the 2000 census.\n\nLocal reform efforts \n\nThe federal government allows tribes some authority in creating their own versions of Temporary Assistance for Needy Families (TANF) with federal monies. Such programs must abide by federal regulations, such as the 60-month limitation, but may incorporate aspects of culture and tradition into the requirements for aid. Economist Elizabeth Zahrt Geib stressed the potential for tribes to define work for purposes of welfare distribution to include traditional tasks and arts more in line with native lifestyles before the reservation system was created.\n\nThe Tanana Chiefs Conference of Alaska and the Lac du Flambeau Bank of Lake Superior Chippewa of Wisconsin have already included hunting and fishing as work activities for purposes of welfare distribution. In addition, locally controlled welfare programs usually mean much easier application processes and increased accessibility to offices, allowing a greater number of eligible individuals to become recipients.\n\nThe amount of money made available to tribes is calculated from the amount that individual states made available to reservation residents in years prior. Unfortunately, many states did not educate reservation residents on procedures for applying for aid, meaning that the number of receiving individuals was less than the number of eligible individuals, and limiting the amount currently made available.\n\nAnti-poverty programs \n\nAcross the country, individuals and organizations both on and off reservations are fighting to reduce the poverty discussed above. Most efforts have focused on gaming casinos, tribal economic entrepreneurship, and cultural revival.\n\nEnvironmental protection efforts \nReservations in relatively close proximity to urban areas have become sites for waste treatment, storage, and disposal facilities (TSDFs), adding environmental degradation to the landscape of poverty. Living in proximity to high levels of pollution or industrial facilities has been linked to serious short-term and long-term health impacts. In what is perhaps the most negative use of Native American lands, the federal government has used reservations for nuclear testing and nuclear waste disposal. Uranium mining, uranium conversion and enrichment, and nuclear weapons testing have all occurred on reservation lands in the past century. After creating the Nevada Test Site on Western Shoshone lands in Nevada, the federal government tested over one thousand atomic weapons on Western Shoshone land between the 1950-90s. The Western Shoshone people call themselves the \"most bombed nation on the planet.\" Similar activities happened on Paiute Shoshone lands as well.\n\nFor Native American nations, environmental justice on reservations is more than the enforcement of equitable protection of human health and natural resources, it is also a matter of tribal sovereignty, self determination, and redistribution of power. The field of environmental justice (EJ) focuses on measuring and mitigating patterns of disproportionate exposure to environmental pollutants and health hazards, has been a useful ally for Native nations in the fight against environmental degradation on reservations. Over the past several decades, EJ communities, researchers and activists have used varied methodology to measure the disparate siting and long-term health effects of locally unwanted land uses, waste treatment facilities, and other noxious point sources of pollution in relation to communities of color and other socioeconomically disadvantaged groups. Native governments on reservations have used their legal \"Treatment as State\" status with the Federal government to mount EJ claims with the Environmental Protection Agency (EPA) in several cases to successfully legally push back against pollution and environmental degradation on their lands . However, many Native activists argue that a seat at the table \"does not ensure a comparable serving of the environmental protection pie\"\n\nInfluence of casinos \n\nIndian gaming casinos are often considered a potential solution to reservation poverty. Because reservations are exempt from many federal and state regulations, including those prohibiting gambling, tribes are able to operate commercial casinos on reservations. These casinos can provide jobs on the reservation, attract tourists, and bring in money for tribes to fund education, health, and social service programs. The Ojibwe of Minnesota have built two schools, the Choctaw of Oklahoma have built a new hospital, and the Pueblo of New Mexico have rebuilt their water system, all using casino profits. Other tribes fund child and elder care programs, health services, fire and police protection, and housing development with gambling earnings.\n\nCasinos also provide much-needed job opportunities on reservations. In 1989, average levels of unemployment on reservations was above 30 percent. In the next decade, that rate dropped to 13 percent on reservations with casinos, while remaining stagnant on reservations without casinos.\n\nCasinos' impact on overall economic conditions, however, is limited. Through the 1990s, the number of reservation residents eligible for public assistance programs increased across most reservations. Although the rate of increase was slightly less on reservations that had casinos, the casinos were unable to reverse trends of worsening poverty. There are a number of factors explaining why casinos have done little to change living conditions on many reservations, despite the income they bring in. First, a relatively small number of casinos bring in the majority of casino income. In the 1990s, ten casinos brought in more than half the earned money, and 20 percent of casinos brought in more than 80 percent of earnings.\n\nThose that are most financially successful tend to be small reservations with relatively few inhabitants located near metropolitan areas that do not have as high poverty rates as larger, more rural reservations, which hold a much greater portion of the nations' reservation inhabitants. Many of the reservations facing the most dire poverty also are the most geographically isolated, meaning outside tourists rarely travel to the casinos. Instead, they are visited by reservation residents. Depending on the profit distribution plan of the tribe, this can result in a redistribution of income from many to a few, and a fractionalization of the reservation population between those who spend at casinos and those who earn from them.\n\nWhen reservation residents spend portions of their sometimes very sparse incomes gambling, casinos can serve to exacerbate rather than relieve conditions of poverty. This is especially true when a casino's income is sent off the reservation, as is frequently the case when tribal governments must rely on outside investors to build casinos. These non-native investors often take substantial portions of the profits for years following construction to repay their initial contributions. Beyond initial investments, some casinos rely on outside management companies for day-to-day operations. Currently, fifteen percent of casino revenues go to such management firms.\n\nBeyond limited economic efficacy, casinos have faced criticism on cultural grounds. Some tribal leaders have raised concerns that gambling goes against cultural beliefs and values, and is not a solid cultural foundation for native economic development. Without culturally sensitive investment in education and job creation, they assert, conditions of poverty will not change.\n\nEconomic development \nSome have suggested that private enterprise originating on the reservation is the key to poverty alleviation. Once a critical mass of business exists, jobs will be created. By keeping the circulation of money on the reservation, economies will grow. Currently, there are 236,691 businesses in the US owned by American Indians and Alaskan Natives, most located off reservations. Although 1.5 percent of the population identifies as American Indian or Alaskan Native, these businesses represent less than one percent of all businesses in the nation. Native-owned businesses tend to be very small, with only 10 percent of them having any employees, and only 162 having more than 100 employees. However, trends suggest the number of natively owned businesses is growing. The number has risen 18 percent in the past decade, and native-business profits rose nearly 30 percent.\n\nSome Native entrepreneurs have brought economic development to their reservations. Small businesses thrive on reservations throughout the country. For example, the Native American Natural Foods Company of Kyle, South Dakota, on Pine Ridge produces energy bars using buffalo meat and cranberries that are sold in gourmet grocery stores throughout the country. They serve as a model for other reservation-based businesses. An artists' cooperative on the Siletz Reservation in Oregon sells Native artwork and is staffed by young reservation residents, providing the artists with business and the employees with important work experience.\n\nIn some areas, reservation residents have developed professional networks to share resources as they develop businesses. For example, four tribes in Oregon created the Oregon Native American Business and Entrepreneurial Network, which offers training to assist tribal members start, fund, and operate business ventures. The organization has assisted more than 10,000 individuals since its founding in 1993. Unfortunately, for every successful business, there are many that are not able to sustain themselves, and many more ideas without the resources needed to implement them.\n\nAlaska Native Corporations \nThe federal government has taken an active role in fostering business on native lands through the creation of Alaska Native Corporations (ANCs). These corporations, created by the Alaska Native Claims Settlement Act of 1971, were created to settle land disputes with Alaska Natives. Rather than creating reservations, the government divided Alaskan lands into corporations, each of which owns a segment of land on which tribal members reside. In addition to owning tribal lands, these corporations have a business relationship with the government, who can contract with them for any number of tasks.\n\nAlaskan corporations have held federal contracts to deal with defense, sexual harassment regulation, and more. Such contracts have not brought substantial money or economic activity to Alaska. Frequently, large, non-natively owned corporations in the continental United States will subcontract with the Alaskan Native Corporations. Due to the circumstances of their creation, contracts with ANCs are free from much of the regulation conventional contractors face, such as requirements for competitive bidding and spending caps. As such, the subcontractors are able to avoid regulation, while only passing on a very small portion of funds to the native shareholders of the Alaskan Native Corporation. In practice, the Alaskan Native Corporation system has done little to reduce poverty among Alaska's natives despite its effort to provide tribes with opportunities for economic activity.\n\nBusiness challenges on reservations \nThere are many challenges facing business leaders on reservations. As discussed above, the substandard educational system leaves many aspiring entrepreneurs without necessary skills to fulfill their visions. The concentration of poverty and geographic isolation of many reservations severely limits the human capital from which business owners may draw to develop their business plans. The lack of disposable income of residents, furthermore, leaves reservation businesses with a limited customer base, while the shortcomings of telecommunications technologies can prevent expansion beyond reservation borders. In addition to material challenges facing economic development, some have criticized the ideological view of business ownership and development as solutions to reservation poverty. These critics have stated that conventional capitalist business plans run counter to many Native traditions, which stress community and interdependence rather than individualism and competition.\n\nIt is often noted that the reservation system needs change. Some have asserted that the entire system needs to be eliminated, but disagree on what should take its place. Anthropologist Shuichi Nagata has stated that both the reservations and modern American cities clash with traditional Native lifestyles. What is needed, he writes, is something separate from either that combines the cultural richness of reservations with the opportunity of contemporary urban centers.\n\nSee also\n\nModern social statistics of Native Americans\nNative Americans and reservation inequality\nAlcohol and Native Americans\nMethamphetamine and Native Americans\nNative American disease and epidemics\nImpact of Native American gaming\n\nAdministration:\nNative American reservation politics\nNative American gambling enterprises\nFormer Indian Reservations in Oklahoma\n\nGeneral:\nNative American self-determination\nTribal disenrollment\nTribal sovereignty\nNew World Syndrome\n\nReferences \n\nNative American topics\nNative American health\nPoverty in the United States\nAmerican Indian reservations", "No Reservations may refer to:\n Anthony Bourdain: No Reservations, a television series hosted by Anthony Bourdain\n No Reservations: Around the World on an Empty Stomach, a 2007 book by Anthony Bourdain based on his TV series\n No Reservations (film), a 2007 film starring Catherine Zeta-Jones and Aaron Eckhart\n No Reservations (Blackfoot album), 1975\n No Reservations (Apache Indian album), 1993" ]
[ "David Frost", "After 1980" ]	C_217351d2fd5a4a9bb19386d270564876_0	What was going on after 1980?	1	What was going on after 1980 for David Frost?	David Frost	Frost was one of the "Famous Five" who launched TV-am in February 1983 but, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. CANNOTANSWER	Frost was one of the "Famous Five" who launched TV-am	Sir David Paradine Frost (7 April 1939 – 31 August 2013) was a British television host, journalist, comedian and writer. He rose to prominence during the satire boom in the United Kingdom when he was chosen to host the satirical programme That Was the Week That Was in 1962. His success on this show led to work as a host on American television. He became known for his television interviews with senior political figures, among them the Nixon interviews with President Richard Nixon in 1977 which were adapted into a stage play and film. Frost interviewed all eight British prime ministers serving between 1964 and 2016 and all seven American presidents in office between 1969 and 2008. He was one of the people behind the launch of ITV station TV-am in 1983. He was the inaugural host of the US newsmagazine programme Inside Edition. He hosted the Sunday morning interview programme Breakfast with Frost for the BBC from 1993 to 2005, and spent two decades as host of Through the Keyhole. From 2006 to 2012, he hosted the weekly programme Frost Over the World on Al Jazeera English, and the weekly programme The Frost Interview from 2012. He received the BAFTA Fellowship from the British Academy of Film and Television Arts in 2005 and the Lifetime Achievement Award at the Emmy Awards in 2009. Frost died on 31 August 2013, aged 74, on board the cruise ship , where he had been engaged as a speaker. His memorial stone was unveiled in Poets' Corner of Westminster Abbey in March 2014. Early life David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally – while residing in Raunds, Northamptonshire – Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C. For two years before going to university he was a lay preacher, following his witnessing of an event presided over by Christian evangelist Billy Graham. Frost studied at Gonville and Caius College, Cambridge, from 1958, graduating with a Third in English. He was editor of both the university's student paper, Varsity, and the literary magazine Granta. He was also secretary of the Footlights Drama Society, which included actors such as Peter Cook and John Bird. During this period Frost appeared on television for the first time in an edition of Anglia Television's Town And Gown, performing several comic characters. "The first time I stepped into a television studio", he once remembered, "it felt like home. It didn't scare me. Talking to the camera seemed the most natural thing in the world." According to some accounts, Frost was the victim of snobbery from the group with which he associated at Cambridge, which has been confirmed by Barry Humphries. Christopher Booker, while asserting that Frost's one defining characteristic was ambition, commented that he was impossible to dislike. According to satirist John Wells, Old Etonian actor Jonathan Cecil congratulated Frost around this time for "that wonderfully silly voice" he used while performing, but then discovered that it was Frost's real voice. After leaving university, Frost became a trainee at Associated-Rediffusion. Meanwhile, having already gained an agent, Frost performed in cabaret at the Blue Angel nightclub in Berkeley Square, London during the evenings. That Was the Week That Was Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, or TW3, after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962–63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the U.S. during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York City production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. After TW3 Frost fronted various programmes following the success of TW3, including its immediate successor, Not So Much a Programme, More a Way of Life, which he co-chaired with Willie Rushton and poet P. J. Kavanagh. Screened on three evenings each week, this series was dropped after a sketch was found to be offensive to Catholics and another to the British royal family. More successful was The Frost Report, broadcast between 1966 and 1967. The show launched the television careers of John Cleese, Ronnie Barker, and Ronnie Corbett, who appeared together in the Class sketch. Frost signed for Rediffusion, the ITV weekday contractor in London, to produce a "heavier" interview-based show called The Frost Programme. Guests included Oswald Mosley and Rhodesian premier Ian Smith. His memorable dressing-down of insurance fraudster Emil Savundra, regarded as the first example of "trial by television" in the UK, led to concern from ITV executives that it might affect Savundra's right to a fair trial. Frost's introductory words for his television programmes during this period, "Hello, good evening and welcome", became his catchphrase and were often mimicked. Frost was a member of a successful consortium, including former executives from the BBC, that bid for an ITV franchise in 1967. This became London Weekend Television, which began broadcasting in July 1968. The station began with a programming policy that was considered "highbrow" and suffered launch problems with low audience ratings and financial problems. A September 1968 meeting of the Network Programme Committee, which made decisions about the channel's scheduling, was particularly fraught, with Lew Grade expressing hatred of Frost in his presence. Frost, according to Kitty Muggeridge in 1967, had "risen without a trace." He was involved in the station's early years as a presenter. On 20 and 21 July 1969, during the British television Apollo 11 coverage, he presented David Frost's Moon Party for LWT, a ten-hour discussion and entertainment marathon from LWT's Wembley Studios, on the night Neil Armstrong walked on the moon. Two of his guests on this programme were British historian A. J. P. Taylor and entertainer Sammy Davis, Jr. Around this time Frost interviewed Rupert Murdoch whose recently acquired Sunday newspaper, the News of the World, had just serialised the memoirs of Christine Keeler, a central figure in the Profumo scandal of 1963. For the Australian publisher, this was a bruising encounter, although Frost said that he had not intended it to be. Murdoch confessed to his biographer Michael Wolff that the incident had convinced him that Frost was "an arrogant bastard, [and] a bloody bugger". In the late 1960s Frost began an intermittent involvement in the film industry. Setting up David Paradine Ltd in 1966, he part-financed The Rise and Rise of Michael Rimmer (1970), in which the lead character was based partly on Frost, and gained an executive producer credit. In 1976, Frost was the executive producer of the British musical film The Slipper and the Rose, retelling the story of Cinderella. Frost was the subject of This Is Your Life in January 1972 when he was surprised by Eamonn Andrews at London's Quaglino's restaurant. American career from 1968 to 1980 In 1968, he signed a contract worth £125,000 to appear on American television in his own show on three evenings each week, the largest such arrangement for a British television personality at the time. From 1969 to 1972, Frost kept his London shows and fronted The David Frost Show on the Group W (U.S. Westinghouse Corporation) television stations in the U.S. His 1970 TV special, Frost on America, featured guests such as Jack Benny and Tennessee Williams. In a declassified transcript of a 1972 telephone call between Frost and Henry Kissinger, President Nixon's national security advisor and secretary of state, Frost urged Kissinger to call chess Grandmaster Bobby Fischer and urge him to compete in that year's World Chess Championship. During this call, Frost revealed that he was working on a novel. Frost interviewed heavyweight boxer Muhammad Ali in 1974 at his training camp in Deer Lake, Pennsylvania before "The Rumble in the Jungle" with George Foreman. Ali remarked, "Listen David, when I meet this man, if you think the world was surprised when Nixon resigned, wait till I whip Foreman's behind." In 1977, the Nixon Interviews, which were five 90-minute interviews with former U.S. President Richard Nixon, were broadcast. Nixon was paid $600,000 plus a share of the profits for the interviews, which had to be funded by Frost himself after the U.S. television networks turned down the programme, describing it as "checkbook journalism". Frost's company negotiated its own deals to syndicate the interviews with local stations across the U.S. and internationally, creating what Ron Howard described as "the first fourth network". Frost taped around 29 hours of interviews with Nixon over four weeks. Nixon, who had previously avoided discussing his role in the Watergate scandal that had led to his resignation as president in 1974, expressed contrition saying, "I let the American people down and I have to carry that burden with me for the rest of my life". Frost asked Nixon whether the president could do something illegal in certain situations such as against antiwar groups and others if he decides "it's in the best interests of the nation or something". Nixon replied: "Well, when the president does it, that means that it is not illegal", by definition. Following the 1979 Iranian Revolution, Frost was the last person to interview Mohammad Reza Pahlavi, the deposed Shah of Iran. The interview took place on Contadora Island in Panama in January 1980, and was broadcast by the American Broadcasting Company in the U.S. on 17 January. The Shah talks about his wealth, his illness, the SAVAK, the torture during his reign, Khomeini, his threat of extradition to Iran and draws a summary of the current situation in Iran. Frost was an organiser of the Music for UNICEF Concert at the United Nations General Assembly in 1979. Ten years later, he was hired as the anchor of new American tabloid news program Inside Edition. He was dismissed after only three weeks because of poor ratings. It seems he was "considered too high-brow for the show's low-brow format." After 1980 Frost was one of the "Famous Five" who launched TV-am in February 1983; however, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster, Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. Achievements Frost was the only person to have interviewed all eight British prime ministers serving between 1964 and 2016 (Harold Wilson, Edward Heath, James Callaghan, Margaret Thatcher, John Major, Tony Blair, Gordon Brown, and David Cameron) and all seven U.S. presidents in office between 1969 and 2008 (Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush). He was a patron and former vice-president of the Motor Neurone Disease Association charity, as well as being a patron of the Alzheimer's Research Trust, Hearing Star Benevolent Fund, East Anglia's Children's Hospices, the Home Farm Trust and the Elton John AIDS Foundation. He was also recognized for his contributions to the women's charity "Wellbeing for Women". After having been in television for 40 years, Frost was estimated to be worth £200 million by the Sunday Times Rich List in 2006, a figure he considered a significant overestimate in 2011. The valuation included the assets of his main British company and subsidiaries, plus homes in London and the country. Frost/Nixon Frost/Nixon was originally a play written by Peter Morgan, developed from the interviews that Frost had conducted with Richard Nixon in 1977. Frost/Nixon was presented as a stage production in London in 2006 and on Broadway in 2007. Frank Langella won a Leading Actor Tony Award for his portrayal of Nixon; the play also received nominations for Best Play and Best Direction. The play was adapted into a Hollywood motion picture entitled Frost/Nixon and starring Michael Sheen as Frost and Langella as Nixon, both reprising their stage roles. The film was released in 2008 and directed by Ron Howard. It was nominated for five Golden Globe Awards, winning none: Best Motion Picture-Drama, Best Director-Drama, Best Actor-Drama (Langella), Best Screenplay, and Best Original Score. It was also nominated for five Academy Awards, again winning none: Best Picture, Best Actor (Langella), Best Director, Best Adapted Screenplay, and Best Film Editing. In February 2009, Frost was featured on the Australian Broadcasting Corporation's international affairs programme Foreign Correspondent in a report titled "The World According To Frost", reflecting on his long career and portrayal in the film Frost/Nixon. Personal life Frost was known for several relationships with high-profile women. In the mid-1960s, he dated British actress Janette Scott, between her marriages to songwriter Jackie Rae and singer Mel Tormé; in the early 1970s he was engaged to American actress Diahann Carroll; between 1972 and 1977 he had a relationship with British socialite Caroline Cushing; in 1981, he married Lynne Frederick, widow of Peter Sellers, but they divorced the following year. He also had an 18-year intermittent affair with American actress Carol Lynley. On 19 March 1983, Frost married Lady Carina Fitzalan-Howard, daughter of the 17th Duke of Norfolk. Three sons were born to the couple over the next five years. His second son, Wilfred Frost, followed in his father's footsteps and currently works as an anchor at CNBC. They lived for many years in Chelsea, London, and kept a weekend home at Michelmersh Court in Hampshire. Death On 31 August 2013, Frost was aboard the Cunard cruise ship when he died of a heart attack at the age of 74. Cunard said that the vessel had left Southampton for a ten-day cruise in the Mediterranean, ending in Rome. A post-mortem found that Frost had hypertrophic cardiomyopathy. Frost's son, Miles, died from the same condition at the age of 31 in 2015. A funeral service was held at Holy Trinity Church in Nuffield, Oxfordshire, on 12 September 2013, after which he was interred in the church's graveyard. On 13 March 2014, a memorial service was held at Westminster Abbey, at which Frost was honoured with a memorial stone in Poets' Corner. Tributes British Prime Minister David Cameron paid tribute, saying: "He could be—and certainly was with me—both a friend and a fearsome interviewer." Michael Grade commented: "He was kind of a television renaissance man. He could put his hand to anything. He could turn over Richard Nixon or he could win the comedy prize at the Montreux Golden Rose festival." Selected awards and honours 1970: Officer of the Order of the British Empire (OBE) 1970: Honorary Doctor of Laws degree of Emerson College 1993: Knight Bachelor 1994: Honorary doctoral degree of the University of Sussex 2000: Golden Plate Award of the American Academy of Achievement 2005: Fellowship of the British Academy of Film and Television Arts BAFTA 2009: Honorary Doctor of Letters degree of the University of Winchester 2009: Lifetime Achievement Award at the Emmy Awards Bibliography Non-fiction How to Live Under Labour – or at Least Have as Much Chance as Anyone Else (1964) To England with Love (1968). With Antony Jay. The Presidential Debate, 1968: David Frost talks with Vice-President Hubert H. Humphrey (and others) (1968). The Americans (1970) Billy Graham Talks with David Frost (1972) Whitlam and Frost: The Full Text of Their TV Conversations Plus Exclusive New Interviews (1974) "I Gave Them a Sword": Behind the Scenes of the Nixon Interviews (1978). Reissued as Frost/Nixon in 2007. David Frost's Book of Millionaires, Multimillionaires, and Really Rich People (1984) The World's Shortest Books (1987) An Autobiography. Part 1: From Congregations to Audiences (1993) With Michael Deakin and illustrated by Willie Rushton I Could Have Kicked Myself: David Frost's Book of the World's Worst Decisions (1982) Who Wants to Be a Millionaire? (1983) If You'll Believe That (1986) With Michael Shea The Mid-Atlantic Companion, or, How to Misunderstand Americans as Much as They Misunderstand Us (1986) The Rich Tide: Men, Women, Ideas and Their Transatlantic Impact (1986) References External links BBC News Profile of David Frost TV Cream on David Frost TV Cream on Paradine Productions 1939 births 2013 deaths Al Jazeera people Alumni of Gonville and Caius College, Cambridge BAFTA fellows BBC newsreaders and journalists British broadcast news analysts British reporters and correspondents British television producers English comedians English game show hosts English memoirists English Methodists English satirists English social commentators English political writers English television personalities English television talk show hosts International Emmy Founders Award winners Knights Bachelor Officers of the Order of the British Empire People educated at Gillingham Grammar School, Kent People educated at St Hugh's School, Woodhall Spa People from Raunds People from Tenterden People from Test Valley People from Wellingborough People who died at sea Primetime Emmy Award winners 20th-century British businesspeople	true	[ "Last Days at the Lodge is the third studio album by singer-songwriter Amos Lee, released on June 24, 2008, through Blue Note. The first single from the album, \"Listen,\" was made available as a digital download on the iTunes Store on April 29, 2008.\n\nTrack listing\nAll songs written by Amos Lee.\n\"Listen\" – 3:10\n\"Won't Let Me Go\" – 4:17\n\"Baby I Want You\" – 3:00\n\"Truth\" – 3:23\n\"What's Been Going On\" – 4:15\n\"Street Corner Preacher\" – 3:14\n\"It Started to Rain\" – 3:05\n\"Jails and Bombs\" – 2:53\n\"Kid\" – 3:11\n\"Ease Back\" – 4:32\n\"Better Days\" – 2:50\n\"Dignified Woman (iTunes exclusive bonus track)\n\nChart performance\n\nPersonnel\nThe Band\nAmos Lee – vocals & guitars\nDoyle Bramhall II – guitar\nSpooner Oldham – keyboards\nPino Palladino – bass guitar\nJames Gadson – drums\n\nAdditional Musicians\nRami Jaffee – keyboards on \"Listen\" & \"What's Been Going On\"\nJamie Muhoberac – additional keyboards on \"Won't Let Me Go\" & \"Jails & Bombs\"\nLarry Gold – string arrangements on \"Won't Let Me Go\"\nGreg Leisz – pedal steel & banjo on \"Baby I Want You\" & \"Ease Back\"\nJustin Stanley – keyboards & bass guitar on \"Street Corner Preacher\", drums on \"What's Been Going On\" & \"Street Corner Preacher\", percussion on \"What's Been Going On\"\nDon Was – keyboards on \"Kid\", acoustic bass on \"Ease Back\"\nPatrick Leonard – harmonium & B-3 organ on \"Kid\"\nAmos Lee and Don Was – claps and stomps on \"Street Corner Preacher\"\n\nReferences\n\nExternal links\nLast Days at the Lodge at Blue Note Records\n\n2008 albums\nAmos Lee albums\nBlue Note Records albums\nAlbums produced by Don Was", "\"What's Going On\" is a song by American singer-songwriter Marvin Gaye, released in 1971 on the Motown subsidiary Tamla. Originally inspired by a police brutality incident witnessed by Renaldo \"Obie\" Benson, the song was composed by Benson, Al Cleveland, and Gaye and produced by Gaye himself. The song marked Gaye's departure from the Motown Sound towards more personal material. Later topping the Hot Soul Singles chart for five weeks and crossing over to number two on the Billboard Hot 100, it would sell over two million copies, becoming Gaye's second-most successful Motown song to date. It was ranked at number 4 in Rolling Stone's 500 Greatest Songs of all Time in 2004 and 2010.\n\nInspiration and writing\nThe song's inspiration came from Renaldo \"Obie\" Benson, a member of the Motown vocal group the Four Tops, after he and the group's tour bus arrived at Berkeley on May 15, 1969. While there, Benson witnessed police brutality and violence in the city's People's Park during a protest held by anti-war activists in what was hailed later as \"Bloody Thursday\". Upset by the situation, Benson said to author Ben Edmonds that as he saw this, he asked, \"'What is happening here?' One question led to another. Why are they sending kids so far away from their families overseas? Why are they attacking their own children in the streets?\"\n\nUpset, he discussed what he witnessed with friend and songwriter Al Cleveland, who in turn wrote and composed a song to reflect Benson's concerns. Benson wanted to give the song to his group but the other Four Tops turned down the request. \"My partners told me it was a protest song\", Benson said later, \"I said 'no man, it's a love song, about love and understanding. I'm not protesting, I want to know what's going on.'\" In 1970, Benson presented the untitled song to Marvin Gaye, who added a new melody and revised the song to his liking, adding in his own lyrics. Benson later said Gaye tweaked and enriched the song, \"added some things that were more ghetto, more natural, which made it seem like a story than a song... we measured him for the suit and he tailored the hell out of it.\" Gaye titled it \"What's Going On\". When Gaye initially thought the song's moody feel would be appropriate to be recorded by The Originals, Benson convinced Gaye to record it as his own song.\n\nGaye, himself, had been inspired by social ills committed in the United States, citing the 1965 Watts Riot as a turning point in his life in which he asked himself, \"'With the world exploding around me, how am I supposed to keep singing love songs?'\" Gaye was also influenced by emotional conversations shared between him and his brother Frankie, who had returned from three years of service at the Vietnam War and his namesake cousin's death while serving troops. During phone conversations with Berry Gordy, who was vacationing in the Bahamas at the time, Gaye had told Gordy that he wanted to record a protest record, to which Gordy said in response, \"Marvin, don't be ridiculous. That's taking things too far.\"\n\nRecording\nGaye entered the recording studio, Hitsville USA, on June 1, 1970, to record \"What's Going On\". Instead of relying on other producers to help him with the song, Gaye, inspired by recent successes of his productions for the vocal act, the Originals, decided to produce the song himself, mixing up original Motown in-house studio musicians such as James Jamerson and Eddie Brown with musicians he recruited himself. The opening soprano saxophone line, provided by musician Eli Fontaine, was not originally intended. Once Gaye heard Fontaine's riff, he told Fontaine to go home. When Fontaine protested that he was just \"goofing around\", Gaye replied \"you goof off exquisitely, thank you.\" The laid-back atmosphere in the studio was brought on by constant marijuana smoking by Gaye and other musicians.\n\nJamerson was pulled into the session after Gaye located him playing with a band at a local bar. Respected Motown arranger and conductor David Van De Pitte said later to Ben Edmonds that Jamerson \"always kept a bottle of [the Greek spirit] Metaxa in his bass case. He could really put that stuff away, and then sit down and still be able to play. His tolerance was incredible. It took a hell a lot to get him smashed.\" The night Jamerson entered the studio to record the bass lines to the song, Jamerson could not sit properly in his seat and, according to one of the members of the Funk Brothers, lay on the floor playing his bass riffs. De Pitte recalled that it was a track that Jamerson greatly respected: \"On 'What's Going On' though, he just read the [bass] part down like I wrote it. He loved it because I had written Jamerson licks for Jamerson.\" Annie Jamerson recalls that when he returned home that night, he declared that the song they had been working on was a \"masterpiece\", one of the few occasions where he had discussed his work so passionately with her. Gaye also added his own instrumentation, playing piano and keyboards while also playing a box drum to help accentuate Chet Forest's drumming.\n\nTo add more to the song's laid-back approach, Gaye invited the Detroit Lions players Mel Farr and Lem Barney to Motown Studio B and, along with Gaye and the Funk Brothers, added in vocal chatter, engaging in a mock conversation. Musician and songwriter Elgie Stover, who later served as a caterer for Bill Clinton and was then a Motown staffer and confidante of Gaye's, was the man who opened the song's track with the words, \"hey, man, what's happening?\" and \"everything is everything\". Later Gaye brought Lem Barney and Mel Farr as well as Bobby Rogers of the Miracles to record the song's background vocal track. The rhythm tracks and the song's overdubs were done at Hitsville, while strings, horns, lead and background vocals were recorded at Studio B. The song was mixed in stereo at Motown Center studio on Woodward Avenue.\n\nOn hearing a playback of the song, Gaye asked his engineer Kenneth Sands to give him his two vocal leads to compare what he wanted to use for the song's release. Sands ended up mixing the leads together, by accident. However, when he heard it, Gaye was so impressed with the double-lead feel that he kept it, influencing his later recordings in which he mastered vocal multi-layering adding in three different vocal parts. Before presenting the song to Gordy, he produced a false fade to the song, bringing the song back for a few seconds after it was initially to have ended. The song was also notable for its use of major seventh and minor seventh chords, which was uncommon at the time. Gaye recorded the song's B-side, \"God Is Love\", on the same day.\n\nAfter Gordy heard the song when Gaye presented it to him in California, he turned down Gaye's request to release it, telling Gaye that he felt it was \"the worst thing I ever heard in my life.\" When Harry Balk requested the song to be released, Gordy told him the song featured \"that Dizzy Gillespie stuff in the middle, that scatting, it's old.\" Gaye responded to this rejection by refusing to record further unless the song was released, going on strike until, he felt, Gordy saw sense in releasing it.\n\nCommercial performance\nAnxious for Marvin Gaye product, Balk got Motown's sales vice president Barney Ales to release the song on January 17, 1971, pressing 100,000 copies and promoting the single to radio stations across the country. The initial success of this led to a further 100,000 to answer demand, selling over 200,000 copies within a week. Though it was issued without Gordy's knowledge, he was satisfied with the high-volume sales. The song eventually became a huge success, reaching the top of the charts within a month in March of the year, staying at number one for five weeks on the Billboard R&B charts and one week at number one on the Cashbox pop chart. On the Billboard Hot 100, it reached number two, behind both \"Just My Imagination (Running Away with Me)\" by the Temptations and \"Joy to the World\" by Three Dog Night. Billboard ranked it as the No. 21 song for 1971. The song eventually sold more than two million copies, becoming the fastest-selling Motown single at the time. The song's success forced Gordy to allow Gaye to produce his own music, giving him an ultimatum to complete an album by the end of March, later resulting in the What's Going On album itself.\n\nCritical reception and legacy\nThe song was reviewed by Slant magazine as a song that presented a contradictory sound, with the song's mournful tone going in contrast to the party atmosphere of the vocal chatter. In reviewing the What's Going On album, Rolling Stone critic Vince Aletti stated that while the song's lyrics were \"hardly brilliant\", the song itself helped to set the mood for the rest of the album, and that \"without overreaching they capture a certain aching dissatisfaction that is part of the album's mood.\"\n\n\"What's Going On\" was nominated for two Grammy Awards in 1972 including Best Male R&B Vocal Performance and Best Arrangement Accompanying Vocalist(s), but failed to win in any of the categories.\n\nIn 2004 and 2010, \"What's Going On\" was ranked number 4 on the Rolling Stone list of \"The 500 Greatest Songs of All Time\", making it the highest Marvin Gaye song on the list. It was ranked number 6 in Rolling Stone's 2021 edition of the list. In 2016, it was voted number 2 in \"Detroit's 100 Greatest Songs\", a project based on voting by music experts and the public, conducted by the Detroit Free Press.\n\nIn 1999, music writers Paul Gambaccini and Kevin Howlett listed the song number 74 on BBC Radio 2's Songs of the Century. In 2003, Q magazine placed the song 64th out of its 1001 Best Songs Ever. In 2004, the Detroit publication Metro Times named it the \"Greatest Detroit Song of All Time\" out of 100 songs on the list. It also reached number 14 on VH1's 100 Greatest Rock Songs of All Time. In March 2012, New Musical Express named it the number 33 Greatest 1970s song on their list.\n\nThe song topped Detroit's Metro Times list of the 100 Greatest Detroit Songs of All Time, and in 2004, Rolling Stone magazine ranked it the fourth-greatest song of all time; in its updated 2011 list, the song remained at that position. It is included in the Rock & Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list, along with two other songs by the singer. It was also listed at number fourteen on VH-1's 100 Greatest Rock Songs.\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nAccolades\n\nPersonnel\n Marvin Gaye – lead and backing vocals, piano and box drum \n Backing vocals by Marvin Gaye, Mel Farr, Lem Barney, Elgie Stover, Kenneth Stover, Bobby Rogers, and the Funk Brothers\n Instrumentation by the Funk Brothers and the Detroit Symphony Orchestra including:\nEli Fountain – alto saxophone\nRobert White – guitar\nJames Jamerson – bass\nChet Forest – drums\nEddie \"Bongo\" Brown – bongos, congas\nJack Ashford – tambourine, percussion\nProduction\n Marvin Gaye – producer, composer\n Renaldo \"Obie\" Benson – composer\n Al Cleveland – composer\n David Van De Pitte – arranger\n Steve Smith – recording engineer\n Mike McLean – recording engineer\n Ken Sands – recording and mix engineer\n\nCyndi Lauper version\n\nCyndi Lauper covered \"What's Going On\" on her second album, True Colors, in 1986. In March 1987, it was released as the third single from the album. On the album version, the song starts off with a series of gunshots in reference to the Vietnam War while the single release is a remix with an alternate vocal used in the intro. It is the single version that most often appears on Lauper compilations. Lauper's cover was a modest hit worldwide. Thanks to club remixes by Shep Pettibone, the song reached number 17 on the U.S. dance chart. However, the song failed to reach the US top ten unlike Lauper's previous two singles from her True Colors album including the title track and \"Change of Heart\", reaching number 12. The video for the song, directed by Andy Morahan, was nominated for an MTV Video Music Award.\n\nChart performance\n\nTrack listing\n7\"\n\"What's Going On\" (Single Version) - 3:51\n\"One Track Mind\" - 3:39\n\n12\"\n\"What's Going On\" (club version) – 6:20 \n\"What's Going On\" (long version) – 6:22 \n\"What's Going On\" (instrumental) – 6:25 \n\"One Track Mind\" – 3:39\n\nOfficial versions\nAlbum version – 4:39\nClub version – 6:30\nInstrumental – 6:25\nLong version – 6:22\nSpecial version – 3:51\n\nCharity versions\n\nLive Aid Armenia cover\n\nThe remake of \"What's Going On\" was the first of the Rock Aid Armenia releases in aid of those suffering from the 1988 Armenian earthquake. The version credited to Live Aid Armenia featured Aswad, Errol Brown, Richard Darbyshire, Gail Ann Dorsey, Boy George, David Gilmour, Nick Heyward, Mykaell S. Riley, Labi Siffre, Helen Terry, Ruby Turner, Elizabeth Westwood and the Reggae Philharmonic Orchestra. The B-side was \"A Cool Wind Is Blowing\", Armenian duduk music played by Djivan Gasparyan. The record was produced by Steve Levine and the executive producers were Fraser Kennedy and Jon Dee. This was released as a single on Island Records.\n\nTrack listings\n7\" Single\n What's Going On - 8:48\n\n12\" Single\n What's Going On - 8:48\n\nMusic Relief '94\n\nIn 1994, the song was covered in the Music Relief '94. This cover was released as a benefit single released in memory of the Rwandan genocide and is also on the album Now That's What I Call Music! 29 to find. All singers who participated in the project are: C. J. Lewis, Andrew Roachford, Yazz, Aswad, Edwin Starr, Peter Cunnah of D Ream, Kim Appleby, MAD Jones of BAD, Rozalla, Tony Di Bart, Paul Young, Paul Carrack, Angie Brown of Ramona 55, Jimmy Ruffin, Omar Lye-Fook, Apache Indian, Worlds Apart, Kaos, The Pasadenas, Gus Isidore, Jools Holland, Mark King of Level 42, Nik Kershaw, Larry Adler and Dannii Minogue.\n\nTrack listings\nCD-Maxi\n What's Going On - 3:52\n\nCharts\n\nArtists Against AIDS Worldwide cover\n\nOn October 30, 2001, a group of popular recording artists under the name \"Artists Against AIDS Worldwide\" released a single containing multiple versions of \"What's Going On\" to benefit AIDS programs in Africa and other impoverished regions. The single contains \"What's Going On\" along with eight additional remixes. The song was recorded shortly before the September 11, 2001 attacks, and it was decided afterwards that a portion of the song's proceeds would benefit the American Red Cross' September 11 fund as well.\n\nJermaine Dupri and Bono produced the radio single version, whose performers included Destiny's Child, Backstreet Boys, Britney Spears, Christina Aguilera, NSYNC, Darren Hayes of Savage Garden, Jennifer Lopez, Ja Rule, Nas, Lil' Kim, Sean Combs, Mary J Blige, Alicia Keys, Eve, Gwen Stefani, Nelly Furtado, Fred Durst of Limp Bizkit, Aaron Lewis of Staind, Michael Stipe of R.E.M., Wyclef Jean and Gaye's own daughter Nona, among other artists.\n\nThe collaboration was a success worldwide, peaking within the top 10 on the charts of Denmark, Ireland, and the United Kingdom and the top 20 on the charts of Flanders, Ireland, New Zealand, Sweden and Switzerland. In New Zealand, it went Gold for selling over 5,000 units. On the US Billboard Hot 100, the cover peaked at number 27, and it additionally reached number 24 on both the Billboard Mainstream Top 40 and Rhythmic charts. A music video was directed by Jake Scott.\n\nTrack listings\nUS maxi-CD single\n \"What's Going On\" (Dupri original mix)\n \"What's Going On\" (The London version)\n \"What's Going On\" (Moby's version)\n \"What's Going On\" (Fred Durst's Reality Check Mix)\n \"What's Going On\" (Mangini/Pop Rox Mix)\n \"What's Going On\" (Mick Guzauski's Pop Mix)\n \"What's Going On\" (Dupri R&B Mix)\n \"What's Going On\" (The Neptunes This One's for You Mix)\n \"What's Going On\" (Junior Vasquez's Club Mix)\n\nUK CD single\n \"What's Going On\" (Dupri original mix) – 4:19\n \"What's Going On\" (Fred Durst's Reality Check Mix) – 5:14\n \"What's Going On\" (The London version) – 3:55\n\nUK cassette single\n \"What's Going On\" (Dupri original mix) – 4:19\n \"What's Going On\" (Moby's version) – 4:36\n\nEuropean CD single\n \"What's Going On\" (Dupri original mix)\n \"What's Going On\" (Fred Durst's Reality Check Mix)\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nOther notable cover versions\nChaka Khan performed a version of the song with the Funk Brothers on the documentary, Standing in the Shadows of Motown, in 2002. The performance resulted in a win at the 45th annual Grammy awards for Best Traditional R&B Vocal Performance.\n\nSee also\n List of anti-war songs\n\nReferences\n\nExternal links\n Marvin Gaye's \"What's Going On\": Songs We Love at NPR\n List of cover versions of \"What's Going On\" at SecondHandSongs.com\n\n1970 songs\n1971 singles\n1987 singles\n1989 singles\n1994 singles\n2001 singles\nAnti-war songs\nA Perfect Circle songs\nCashbox number-one singles\nCharity singles\nCharity singles following the September 11 attacks\nChristina Aguilera songs\nCivil rights movement in popular culture\nColumbia Records singles\nCyndi Lauper songs\nDarren Hayes songs\nDestiny's Child songs\nEpic Records singles\nEve (rapper) songs\nFunk ballads\nGrammy Award for Best Traditional R&B Vocal Performance\nGwen Stefani songs\nLil' Kim songs\nMarvin Gaye songs\nMotown singles\nMusic videos directed by Andy Morahan\nMusic videos directed by Jake Scott (director)\nNas songs\nNelly Furtado songs\nProtest songs\nSean Combs songs\nSongs against racism and xenophobia\nSongs of the Vietnam War\nSongs written by Al Cleveland\nSongs written by Marvin Gaye\nSongs written by Renaldo Benson\nSoul ballads\nSong recordings produced by Marvin Gaye\nSong recordings produced by Steve Levine\nTamla Records singles\nVirgin Records singles" ]
[ "David Frost", "After 1980", "What was going on after 1980?", "Frost was one of the \"Famous Five\" who launched TV-am" ]	C_217351d2fd5a4a9bb19386d270564876_0	What was TV-am?	2	What was TV-am presented by Famous Five, including Frost?	David Frost	Frost was one of the "Famous Five" who launched TV-am in February 1983 but, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. CANNOTANSWER	the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring.	Sir David Paradine Frost (7 April 1939 – 31 August 2013) was a British television host, journalist, comedian and writer. He rose to prominence during the satire boom in the United Kingdom when he was chosen to host the satirical programme That Was the Week That Was in 1962. His success on this show led to work as a host on American television. He became known for his television interviews with senior political figures, among them the Nixon interviews with President Richard Nixon in 1977 which were adapted into a stage play and film. Frost interviewed all eight British prime ministers serving between 1964 and 2016 and all seven American presidents in office between 1969 and 2008. He was one of the people behind the launch of ITV station TV-am in 1983. He was the inaugural host of the US newsmagazine programme Inside Edition. He hosted the Sunday morning interview programme Breakfast with Frost for the BBC from 1993 to 2005, and spent two decades as host of Through the Keyhole. From 2006 to 2012, he hosted the weekly programme Frost Over the World on Al Jazeera English, and the weekly programme The Frost Interview from 2012. He received the BAFTA Fellowship from the British Academy of Film and Television Arts in 2005 and the Lifetime Achievement Award at the Emmy Awards in 2009. Frost died on 31 August 2013, aged 74, on board the cruise ship , where he had been engaged as a speaker. His memorial stone was unveiled in Poets' Corner of Westminster Abbey in March 2014. Early life David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally – while residing in Raunds, Northamptonshire – Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C. For two years before going to university he was a lay preacher, following his witnessing of an event presided over by Christian evangelist Billy Graham. Frost studied at Gonville and Caius College, Cambridge, from 1958, graduating with a Third in English. He was editor of both the university's student paper, Varsity, and the literary magazine Granta. He was also secretary of the Footlights Drama Society, which included actors such as Peter Cook and John Bird. During this period Frost appeared on television for the first time in an edition of Anglia Television's Town And Gown, performing several comic characters. "The first time I stepped into a television studio", he once remembered, "it felt like home. It didn't scare me. Talking to the camera seemed the most natural thing in the world." According to some accounts, Frost was the victim of snobbery from the group with which he associated at Cambridge, which has been confirmed by Barry Humphries. Christopher Booker, while asserting that Frost's one defining characteristic was ambition, commented that he was impossible to dislike. According to satirist John Wells, Old Etonian actor Jonathan Cecil congratulated Frost around this time for "that wonderfully silly voice" he used while performing, but then discovered that it was Frost's real voice. After leaving university, Frost became a trainee at Associated-Rediffusion. Meanwhile, having already gained an agent, Frost performed in cabaret at the Blue Angel nightclub in Berkeley Square, London during the evenings. That Was the Week That Was Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, or TW3, after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962–63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the U.S. during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York City production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. After TW3 Frost fronted various programmes following the success of TW3, including its immediate successor, Not So Much a Programme, More a Way of Life, which he co-chaired with Willie Rushton and poet P. J. Kavanagh. Screened on three evenings each week, this series was dropped after a sketch was found to be offensive to Catholics and another to the British royal family. More successful was The Frost Report, broadcast between 1966 and 1967. The show launched the television careers of John Cleese, Ronnie Barker, and Ronnie Corbett, who appeared together in the Class sketch. Frost signed for Rediffusion, the ITV weekday contractor in London, to produce a "heavier" interview-based show called The Frost Programme. Guests included Oswald Mosley and Rhodesian premier Ian Smith. His memorable dressing-down of insurance fraudster Emil Savundra, regarded as the first example of "trial by television" in the UK, led to concern from ITV executives that it might affect Savundra's right to a fair trial. Frost's introductory words for his television programmes during this period, "Hello, good evening and welcome", became his catchphrase and were often mimicked. Frost was a member of a successful consortium, including former executives from the BBC, that bid for an ITV franchise in 1967. This became London Weekend Television, which began broadcasting in July 1968. The station began with a programming policy that was considered "highbrow" and suffered launch problems with low audience ratings and financial problems. A September 1968 meeting of the Network Programme Committee, which made decisions about the channel's scheduling, was particularly fraught, with Lew Grade expressing hatred of Frost in his presence. Frost, according to Kitty Muggeridge in 1967, had "risen without a trace." He was involved in the station's early years as a presenter. On 20 and 21 July 1969, during the British television Apollo 11 coverage, he presented David Frost's Moon Party for LWT, a ten-hour discussion and entertainment marathon from LWT's Wembley Studios, on the night Neil Armstrong walked on the moon. Two of his guests on this programme were British historian A. J. P. Taylor and entertainer Sammy Davis, Jr. Around this time Frost interviewed Rupert Murdoch whose recently acquired Sunday newspaper, the News of the World, had just serialised the memoirs of Christine Keeler, a central figure in the Profumo scandal of 1963. For the Australian publisher, this was a bruising encounter, although Frost said that he had not intended it to be. Murdoch confessed to his biographer Michael Wolff that the incident had convinced him that Frost was "an arrogant bastard, [and] a bloody bugger". In the late 1960s Frost began an intermittent involvement in the film industry. Setting up David Paradine Ltd in 1966, he part-financed The Rise and Rise of Michael Rimmer (1970), in which the lead character was based partly on Frost, and gained an executive producer credit. In 1976, Frost was the executive producer of the British musical film The Slipper and the Rose, retelling the story of Cinderella. Frost was the subject of This Is Your Life in January 1972 when he was surprised by Eamonn Andrews at London's Quaglino's restaurant. American career from 1968 to 1980 In 1968, he signed a contract worth £125,000 to appear on American television in his own show on three evenings each week, the largest such arrangement for a British television personality at the time. From 1969 to 1972, Frost kept his London shows and fronted The David Frost Show on the Group W (U.S. Westinghouse Corporation) television stations in the U.S. His 1970 TV special, Frost on America, featured guests such as Jack Benny and Tennessee Williams. In a declassified transcript of a 1972 telephone call between Frost and Henry Kissinger, President Nixon's national security advisor and secretary of state, Frost urged Kissinger to call chess Grandmaster Bobby Fischer and urge him to compete in that year's World Chess Championship. During this call, Frost revealed that he was working on a novel. Frost interviewed heavyweight boxer Muhammad Ali in 1974 at his training camp in Deer Lake, Pennsylvania before "The Rumble in the Jungle" with George Foreman. Ali remarked, "Listen David, when I meet this man, if you think the world was surprised when Nixon resigned, wait till I whip Foreman's behind." In 1977, the Nixon Interviews, which were five 90-minute interviews with former U.S. President Richard Nixon, were broadcast. Nixon was paid $600,000 plus a share of the profits for the interviews, which had to be funded by Frost himself after the U.S. television networks turned down the programme, describing it as "checkbook journalism". Frost's company negotiated its own deals to syndicate the interviews with local stations across the U.S. and internationally, creating what Ron Howard described as "the first fourth network". Frost taped around 29 hours of interviews with Nixon over four weeks. Nixon, who had previously avoided discussing his role in the Watergate scandal that had led to his resignation as president in 1974, expressed contrition saying, "I let the American people down and I have to carry that burden with me for the rest of my life". Frost asked Nixon whether the president could do something illegal in certain situations such as against antiwar groups and others if he decides "it's in the best interests of the nation or something". Nixon replied: "Well, when the president does it, that means that it is not illegal", by definition. Following the 1979 Iranian Revolution, Frost was the last person to interview Mohammad Reza Pahlavi, the deposed Shah of Iran. The interview took place on Contadora Island in Panama in January 1980, and was broadcast by the American Broadcasting Company in the U.S. on 17 January. The Shah talks about his wealth, his illness, the SAVAK, the torture during his reign, Khomeini, his threat of extradition to Iran and draws a summary of the current situation in Iran. Frost was an organiser of the Music for UNICEF Concert at the United Nations General Assembly in 1979. Ten years later, he was hired as the anchor of new American tabloid news program Inside Edition. He was dismissed after only three weeks because of poor ratings. It seems he was "considered too high-brow for the show's low-brow format." After 1980 Frost was one of the "Famous Five" who launched TV-am in February 1983; however, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster, Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. Achievements Frost was the only person to have interviewed all eight British prime ministers serving between 1964 and 2016 (Harold Wilson, Edward Heath, James Callaghan, Margaret Thatcher, John Major, Tony Blair, Gordon Brown, and David Cameron) and all seven U.S. presidents in office between 1969 and 2008 (Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush). He was a patron and former vice-president of the Motor Neurone Disease Association charity, as well as being a patron of the Alzheimer's Research Trust, Hearing Star Benevolent Fund, East Anglia's Children's Hospices, the Home Farm Trust and the Elton John AIDS Foundation. He was also recognized for his contributions to the women's charity "Wellbeing for Women". After having been in television for 40 years, Frost was estimated to be worth £200 million by the Sunday Times Rich List in 2006, a figure he considered a significant overestimate in 2011. The valuation included the assets of his main British company and subsidiaries, plus homes in London and the country. Frost/Nixon Frost/Nixon was originally a play written by Peter Morgan, developed from the interviews that Frost had conducted with Richard Nixon in 1977. Frost/Nixon was presented as a stage production in London in 2006 and on Broadway in 2007. Frank Langella won a Leading Actor Tony Award for his portrayal of Nixon; the play also received nominations for Best Play and Best Direction. The play was adapted into a Hollywood motion picture entitled Frost/Nixon and starring Michael Sheen as Frost and Langella as Nixon, both reprising their stage roles. The film was released in 2008 and directed by Ron Howard. It was nominated for five Golden Globe Awards, winning none: Best Motion Picture-Drama, Best Director-Drama, Best Actor-Drama (Langella), Best Screenplay, and Best Original Score. It was also nominated for five Academy Awards, again winning none: Best Picture, Best Actor (Langella), Best Director, Best Adapted Screenplay, and Best Film Editing. In February 2009, Frost was featured on the Australian Broadcasting Corporation's international affairs programme Foreign Correspondent in a report titled "The World According To Frost", reflecting on his long career and portrayal in the film Frost/Nixon. Personal life Frost was known for several relationships with high-profile women. In the mid-1960s, he dated British actress Janette Scott, between her marriages to songwriter Jackie Rae and singer Mel Tormé; in the early 1970s he was engaged to American actress Diahann Carroll; between 1972 and 1977 he had a relationship with British socialite Caroline Cushing; in 1981, he married Lynne Frederick, widow of Peter Sellers, but they divorced the following year. He also had an 18-year intermittent affair with American actress Carol Lynley. On 19 March 1983, Frost married Lady Carina Fitzalan-Howard, daughter of the 17th Duke of Norfolk. Three sons were born to the couple over the next five years. His second son, Wilfred Frost, followed in his father's footsteps and currently works as an anchor at CNBC. They lived for many years in Chelsea, London, and kept a weekend home at Michelmersh Court in Hampshire. Death On 31 August 2013, Frost was aboard the Cunard cruise ship when he died of a heart attack at the age of 74. Cunard said that the vessel had left Southampton for a ten-day cruise in the Mediterranean, ending in Rome. A post-mortem found that Frost had hypertrophic cardiomyopathy. Frost's son, Miles, died from the same condition at the age of 31 in 2015. A funeral service was held at Holy Trinity Church in Nuffield, Oxfordshire, on 12 September 2013, after which he was interred in the church's graveyard. On 13 March 2014, a memorial service was held at Westminster Abbey, at which Frost was honoured with a memorial stone in Poets' Corner. Tributes British Prime Minister David Cameron paid tribute, saying: "He could be—and certainly was with me—both a friend and a fearsome interviewer." Michael Grade commented: "He was kind of a television renaissance man. He could put his hand to anything. He could turn over Richard Nixon or he could win the comedy prize at the Montreux Golden Rose festival." Selected awards and honours 1970: Officer of the Order of the British Empire (OBE) 1970: Honorary Doctor of Laws degree of Emerson College 1993: Knight Bachelor 1994: Honorary doctoral degree of the University of Sussex 2000: Golden Plate Award of the American Academy of Achievement 2005: Fellowship of the British Academy of Film and Television Arts BAFTA 2009: Honorary Doctor of Letters degree of the University of Winchester 2009: Lifetime Achievement Award at the Emmy Awards Bibliography Non-fiction How to Live Under Labour – or at Least Have as Much Chance as Anyone Else (1964) To England with Love (1968). With Antony Jay. The Presidential Debate, 1968: David Frost talks with Vice-President Hubert H. Humphrey (and others) (1968). The Americans (1970) Billy Graham Talks with David Frost (1972) Whitlam and Frost: The Full Text of Their TV Conversations Plus Exclusive New Interviews (1974) "I Gave Them a Sword": Behind the Scenes of the Nixon Interviews (1978). Reissued as Frost/Nixon in 2007. David Frost's Book of Millionaires, Multimillionaires, and Really Rich People (1984) The World's Shortest Books (1987) An Autobiography. Part 1: From Congregations to Audiences (1993) With Michael Deakin and illustrated by Willie Rushton I Could Have Kicked Myself: David Frost's Book of the World's Worst Decisions (1982) Who Wants to Be a Millionaire? (1983) If You'll Believe That (1986) With Michael Shea The Mid-Atlantic Companion, or, How to Misunderstand Americans as Much as They Misunderstand Us (1986) The Rich Tide: Men, Women, Ideas and Their Transatlantic Impact (1986) References External links BBC News Profile of David Frost TV Cream on David Frost TV Cream on Paradine Productions 1939 births 2013 deaths Al Jazeera people Alumni of Gonville and Caius College, Cambridge BAFTA fellows BBC newsreaders and journalists British broadcast news analysts British reporters and correspondents British television producers English comedians English game show hosts English memoirists English Methodists English satirists English social commentators English political writers English television personalities English television talk show hosts International Emmy Founders Award winners Knights Bachelor Officers of the Order of the British Empire People educated at Gillingham Grammar School, Kent People educated at St Hugh's School, Woodhall Spa People from Raunds People from Tenterden People from Test Valley People from Wellingborough People who died at sea Primetime Emmy Award winners 20th-century British businesspeople	true	[ "\"What Am I Fighting For?\" is the second single by British dance music band Unklejam, released in 2007 from their self-titled debut album. The song reached 16 on the UK Singles Chart.\n\nThe single was met with positive reviews from critics and was playlisted by BBC Radio 1, Galaxy, Kiss, Capital FM and The Mix ad, leading the single to be a radio hit, peaking in the top 30 of the UK airplay chart and the top 20 of the UK TV airplay chart.\n\nTrack listings\nUK CD1\n \"What Am I Fighting For?\" (radio edit)\n \"Ain't No Sunshine\"\n\nUK CD2\n \"What Am I Fighting For?\" (album version)\n \"What Am I Fighting For?\" (original mix)\n \"What Am I Fighting For?\" (Steve Mac remix)\n \"What Am I Fighting For?\" (The Record Shack mix)\n \"What Am I Fighting For?\" (video/behind the scenes)\n\nUK 7-inch picture disc\nA. \"What Am I Fighting For?\" (radio edit)\nB. \"What Am I Fighting For?\" (L.A. Priest remix)\n\nCharts\n\nReferences\n\n2007 singles\n2007 songs\nVirgin Records singles", "SmileTV is a range of British television channels which launched on digital terrestrial television (Freeview) channel 37 on 29 April 2006. It was carried on multiplex C, and timeshared with Dave. Initially the channel broadcast between 1am and 5am, but moved to 3am and 7am from 28 September 2007. On 20 August 2009, SmileTV ceased broadcasting and was replaced with SmileTV3, which still continues to broadcast to this day.\n\nProgramming\nFrom the launch of SmileTV until 1 July 2006, Quizworld was shown in the 1 am to 4 am timeslot. Quizworld was a premium rate telephone quiz service. An audio version of Quizworld was also broadcast on Top Up TV Active intermittently outside of SmileTV's broadcast hours. The audio on was accompanied by an on-screen MHEG graphic of the quiz. A MHEG graphic was used as during the daytime and evening Top Up TV had no space on the platform for an additional videostream.\n\nLater Quizworld was replaced by two shows, Party People from 1-4am and SumoTV from 4-5am. By the time the channel closed, the entirety of the channel's output was a premium rate telephone chat-line service by the name of Party Girls.\n\nSmileTV2\nSmileTV2 was a sister channel to the main SmileTV, and first appeared on Freeview channel 46 on 8 September 2008 - broadcasting Party Girls and Life Coach TV. After a few months, Life Coach TV was replaced with Psychic TV. The channel also aired daytime chat show, The Chat and Smile & Date. In February 2009, SmileTV2 dropped all mentioned programming in favour of Bingo on the Box: Live. On 15 March 2009, SmileTV2 ceased broadcasting. However, the channel relaunched in May, timesharing with Ideal World - broadcasting Babestation daily between 12 midnight and 5 am, but later closed permanently, only to relaunch again in August 2009.\n\nThe channel closed on May 13, 2020, following changes made to the Channel 4 channels 4Music & 4seven, as well as Together TV, which all temporarily broadcast from 10pm to 7am until June 2 on Freeview.\n\nSmileTV3\nAfter the original SmileTV closed in August 2009, a channel called SmileTV3 launched. Currently the channel broadcasts Babestation from 10pm to 5am.\n\nExternal links\n \n\nBritish pornographic television channels\nCellcast\nAdult chat (television)\nTelevision channels and stations established in 2006" ]
[ "David Frost", "After 1980", "What was going on after 1980?", "Frost was one of the \"Famous Five\" who launched TV-am", "What was TV-am?", "the station began with an unsustainable \"highbrow\" approach. Frost remained a presenter after restructuring." ]	C_217351d2fd5a4a9bb19386d270564876_0	Who else was a famous five member?	3	Who else was a famous five member aside from David Frost?	David Frost	Frost was one of the "Famous Five" who launched TV-am in February 1983 but, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. CANNOTANSWER	Richard Branson and other interests,	Sir David Paradine Frost (7 April 1939 – 31 August 2013) was a British television host, journalist, comedian and writer. He rose to prominence during the satire boom in the United Kingdom when he was chosen to host the satirical programme That Was the Week That Was in 1962. His success on this show led to work as a host on American television. He became known for his television interviews with senior political figures, among them the Nixon interviews with President Richard Nixon in 1977 which were adapted into a stage play and film. Frost interviewed all eight British prime ministers serving between 1964 and 2016 and all seven American presidents in office between 1969 and 2008. He was one of the people behind the launch of ITV station TV-am in 1983. He was the inaugural host of the US newsmagazine programme Inside Edition. He hosted the Sunday morning interview programme Breakfast with Frost for the BBC from 1993 to 2005, and spent two decades as host of Through the Keyhole. From 2006 to 2012, he hosted the weekly programme Frost Over the World on Al Jazeera English, and the weekly programme The Frost Interview from 2012. He received the BAFTA Fellowship from the British Academy of Film and Television Arts in 2005 and the Lifetime Achievement Award at the Emmy Awards in 2009. Frost died on 31 August 2013, aged 74, on board the cruise ship , where he had been engaged as a speaker. His memorial stone was unveiled in Poets' Corner of Westminster Abbey in March 2014. Early life David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally – while residing in Raunds, Northamptonshire – Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C. For two years before going to university he was a lay preacher, following his witnessing of an event presided over by Christian evangelist Billy Graham. Frost studied at Gonville and Caius College, Cambridge, from 1958, graduating with a Third in English. He was editor of both the university's student paper, Varsity, and the literary magazine Granta. He was also secretary of the Footlights Drama Society, which included actors such as Peter Cook and John Bird. During this period Frost appeared on television for the first time in an edition of Anglia Television's Town And Gown, performing several comic characters. "The first time I stepped into a television studio", he once remembered, "it felt like home. It didn't scare me. Talking to the camera seemed the most natural thing in the world." According to some accounts, Frost was the victim of snobbery from the group with which he associated at Cambridge, which has been confirmed by Barry Humphries. Christopher Booker, while asserting that Frost's one defining characteristic was ambition, commented that he was impossible to dislike. According to satirist John Wells, Old Etonian actor Jonathan Cecil congratulated Frost around this time for "that wonderfully silly voice" he used while performing, but then discovered that it was Frost's real voice. After leaving university, Frost became a trainee at Associated-Rediffusion. Meanwhile, having already gained an agent, Frost performed in cabaret at the Blue Angel nightclub in Berkeley Square, London during the evenings. That Was the Week That Was Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, or TW3, after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962–63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the U.S. during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York City production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. After TW3 Frost fronted various programmes following the success of TW3, including its immediate successor, Not So Much a Programme, More a Way of Life, which he co-chaired with Willie Rushton and poet P. J. Kavanagh. Screened on three evenings each week, this series was dropped after a sketch was found to be offensive to Catholics and another to the British royal family. More successful was The Frost Report, broadcast between 1966 and 1967. The show launched the television careers of John Cleese, Ronnie Barker, and Ronnie Corbett, who appeared together in the Class sketch. Frost signed for Rediffusion, the ITV weekday contractor in London, to produce a "heavier" interview-based show called The Frost Programme. Guests included Oswald Mosley and Rhodesian premier Ian Smith. His memorable dressing-down of insurance fraudster Emil Savundra, regarded as the first example of "trial by television" in the UK, led to concern from ITV executives that it might affect Savundra's right to a fair trial. Frost's introductory words for his television programmes during this period, "Hello, good evening and welcome", became his catchphrase and were often mimicked. Frost was a member of a successful consortium, including former executives from the BBC, that bid for an ITV franchise in 1967. This became London Weekend Television, which began broadcasting in July 1968. The station began with a programming policy that was considered "highbrow" and suffered launch problems with low audience ratings and financial problems. A September 1968 meeting of the Network Programme Committee, which made decisions about the channel's scheduling, was particularly fraught, with Lew Grade expressing hatred of Frost in his presence. Frost, according to Kitty Muggeridge in 1967, had "risen without a trace." He was involved in the station's early years as a presenter. On 20 and 21 July 1969, during the British television Apollo 11 coverage, he presented David Frost's Moon Party for LWT, a ten-hour discussion and entertainment marathon from LWT's Wembley Studios, on the night Neil Armstrong walked on the moon. Two of his guests on this programme were British historian A. J. P. Taylor and entertainer Sammy Davis, Jr. Around this time Frost interviewed Rupert Murdoch whose recently acquired Sunday newspaper, the News of the World, had just serialised the memoirs of Christine Keeler, a central figure in the Profumo scandal of 1963. For the Australian publisher, this was a bruising encounter, although Frost said that he had not intended it to be. Murdoch confessed to his biographer Michael Wolff that the incident had convinced him that Frost was "an arrogant bastard, [and] a bloody bugger". In the late 1960s Frost began an intermittent involvement in the film industry. Setting up David Paradine Ltd in 1966, he part-financed The Rise and Rise of Michael Rimmer (1970), in which the lead character was based partly on Frost, and gained an executive producer credit. In 1976, Frost was the executive producer of the British musical film The Slipper and the Rose, retelling the story of Cinderella. Frost was the subject of This Is Your Life in January 1972 when he was surprised by Eamonn Andrews at London's Quaglino's restaurant. American career from 1968 to 1980 In 1968, he signed a contract worth £125,000 to appear on American television in his own show on three evenings each week, the largest such arrangement for a British television personality at the time. From 1969 to 1972, Frost kept his London shows and fronted The David Frost Show on the Group W (U.S. Westinghouse Corporation) television stations in the U.S. His 1970 TV special, Frost on America, featured guests such as Jack Benny and Tennessee Williams. In a declassified transcript of a 1972 telephone call between Frost and Henry Kissinger, President Nixon's national security advisor and secretary of state, Frost urged Kissinger to call chess Grandmaster Bobby Fischer and urge him to compete in that year's World Chess Championship. During this call, Frost revealed that he was working on a novel. Frost interviewed heavyweight boxer Muhammad Ali in 1974 at his training camp in Deer Lake, Pennsylvania before "The Rumble in the Jungle" with George Foreman. Ali remarked, "Listen David, when I meet this man, if you think the world was surprised when Nixon resigned, wait till I whip Foreman's behind." In 1977, the Nixon Interviews, which were five 90-minute interviews with former U.S. President Richard Nixon, were broadcast. Nixon was paid $600,000 plus a share of the profits for the interviews, which had to be funded by Frost himself after the U.S. television networks turned down the programme, describing it as "checkbook journalism". Frost's company negotiated its own deals to syndicate the interviews with local stations across the U.S. and internationally, creating what Ron Howard described as "the first fourth network". Frost taped around 29 hours of interviews with Nixon over four weeks. Nixon, who had previously avoided discussing his role in the Watergate scandal that had led to his resignation as president in 1974, expressed contrition saying, "I let the American people down and I have to carry that burden with me for the rest of my life". Frost asked Nixon whether the president could do something illegal in certain situations such as against antiwar groups and others if he decides "it's in the best interests of the nation or something". Nixon replied: "Well, when the president does it, that means that it is not illegal", by definition. Following the 1979 Iranian Revolution, Frost was the last person to interview Mohammad Reza Pahlavi, the deposed Shah of Iran. The interview took place on Contadora Island in Panama in January 1980, and was broadcast by the American Broadcasting Company in the U.S. on 17 January. The Shah talks about his wealth, his illness, the SAVAK, the torture during his reign, Khomeini, his threat of extradition to Iran and draws a summary of the current situation in Iran. Frost was an organiser of the Music for UNICEF Concert at the United Nations General Assembly in 1979. Ten years later, he was hired as the anchor of new American tabloid news program Inside Edition. He was dismissed after only three weeks because of poor ratings. It seems he was "considered too high-brow for the show's low-brow format." After 1980 Frost was one of the "Famous Five" who launched TV-am in February 1983; however, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster, Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. Achievements Frost was the only person to have interviewed all eight British prime ministers serving between 1964 and 2016 (Harold Wilson, Edward Heath, James Callaghan, Margaret Thatcher, John Major, Tony Blair, Gordon Brown, and David Cameron) and all seven U.S. presidents in office between 1969 and 2008 (Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush). He was a patron and former vice-president of the Motor Neurone Disease Association charity, as well as being a patron of the Alzheimer's Research Trust, Hearing Star Benevolent Fund, East Anglia's Children's Hospices, the Home Farm Trust and the Elton John AIDS Foundation. He was also recognized for his contributions to the women's charity "Wellbeing for Women". After having been in television for 40 years, Frost was estimated to be worth £200 million by the Sunday Times Rich List in 2006, a figure he considered a significant overestimate in 2011. The valuation included the assets of his main British company and subsidiaries, plus homes in London and the country. Frost/Nixon Frost/Nixon was originally a play written by Peter Morgan, developed from the interviews that Frost had conducted with Richard Nixon in 1977. Frost/Nixon was presented as a stage production in London in 2006 and on Broadway in 2007. Frank Langella won a Leading Actor Tony Award for his portrayal of Nixon; the play also received nominations for Best Play and Best Direction. The play was adapted into a Hollywood motion picture entitled Frost/Nixon and starring Michael Sheen as Frost and Langella as Nixon, both reprising their stage roles. The film was released in 2008 and directed by Ron Howard. It was nominated for five Golden Globe Awards, winning none: Best Motion Picture-Drama, Best Director-Drama, Best Actor-Drama (Langella), Best Screenplay, and Best Original Score. It was also nominated for five Academy Awards, again winning none: Best Picture, Best Actor (Langella), Best Director, Best Adapted Screenplay, and Best Film Editing. In February 2009, Frost was featured on the Australian Broadcasting Corporation's international affairs programme Foreign Correspondent in a report titled "The World According To Frost", reflecting on his long career and portrayal in the film Frost/Nixon. Personal life Frost was known for several relationships with high-profile women. In the mid-1960s, he dated British actress Janette Scott, between her marriages to songwriter Jackie Rae and singer Mel Tormé; in the early 1970s he was engaged to American actress Diahann Carroll; between 1972 and 1977 he had a relationship with British socialite Caroline Cushing; in 1981, he married Lynne Frederick, widow of Peter Sellers, but they divorced the following year. He also had an 18-year intermittent affair with American actress Carol Lynley. On 19 March 1983, Frost married Lady Carina Fitzalan-Howard, daughter of the 17th Duke of Norfolk. Three sons were born to the couple over the next five years. His second son, Wilfred Frost, followed in his father's footsteps and currently works as an anchor at CNBC. They lived for many years in Chelsea, London, and kept a weekend home at Michelmersh Court in Hampshire. Death On 31 August 2013, Frost was aboard the Cunard cruise ship when he died of a heart attack at the age of 74. Cunard said that the vessel had left Southampton for a ten-day cruise in the Mediterranean, ending in Rome. A post-mortem found that Frost had hypertrophic cardiomyopathy. Frost's son, Miles, died from the same condition at the age of 31 in 2015. A funeral service was held at Holy Trinity Church in Nuffield, Oxfordshire, on 12 September 2013, after which he was interred in the church's graveyard. On 13 March 2014, a memorial service was held at Westminster Abbey, at which Frost was honoured with a memorial stone in Poets' Corner. Tributes British Prime Minister David Cameron paid tribute, saying: "He could be—and certainly was with me—both a friend and a fearsome interviewer." Michael Grade commented: "He was kind of a television renaissance man. He could put his hand to anything. He could turn over Richard Nixon or he could win the comedy prize at the Montreux Golden Rose festival." Selected awards and honours 1970: Officer of the Order of the British Empire (OBE) 1970: Honorary Doctor of Laws degree of Emerson College 1993: Knight Bachelor 1994: Honorary doctoral degree of the University of Sussex 2000: Golden Plate Award of the American Academy of Achievement 2005: Fellowship of the British Academy of Film and Television Arts BAFTA 2009: Honorary Doctor of Letters degree of the University of Winchester 2009: Lifetime Achievement Award at the Emmy Awards Bibliography Non-fiction How to Live Under Labour – or at Least Have as Much Chance as Anyone Else (1964) To England with Love (1968). With Antony Jay. The Presidential Debate, 1968: David Frost talks with Vice-President Hubert H. Humphrey (and others) (1968). The Americans (1970) Billy Graham Talks with David Frost (1972) Whitlam and Frost: The Full Text of Their TV Conversations Plus Exclusive New Interviews (1974) "I Gave Them a Sword": Behind the Scenes of the Nixon Interviews (1978). Reissued as Frost/Nixon in 2007. David Frost's Book of Millionaires, Multimillionaires, and Really Rich People (1984) The World's Shortest Books (1987) An Autobiography. Part 1: From Congregations to Audiences (1993) With Michael Deakin and illustrated by Willie Rushton I Could Have Kicked Myself: David Frost's Book of the World's Worst Decisions (1982) Who Wants to Be a Millionaire? (1983) If You'll Believe That (1986) With Michael Shea The Mid-Atlantic Companion, or, How to Misunderstand Americans as Much as They Misunderstand Us (1986) The Rich Tide: Men, Women, Ideas and Their Transatlantic Impact (1986) References External links BBC News Profile of David Frost TV Cream on David Frost TV Cream on Paradine Productions 1939 births 2013 deaths Al Jazeera people Alumni of Gonville and Caius College, Cambridge BAFTA fellows BBC newsreaders and journalists British broadcast news analysts British reporters and correspondents British television producers English comedians English game show hosts English memoirists English Methodists English satirists English social commentators English political writers English television personalities English television talk show hosts International Emmy Founders Award winners Knights Bachelor Officers of the Order of the British Empire People educated at Gillingham Grammar School, Kent People educated at St Hugh's School, Woodhall Spa People from Raunds People from Tenterden People from Test Valley People from Wellingborough People who died at sea Primetime Emmy Award winners 20th-century British businesspeople	true	[ "Rolls Gracie (; 1951–1982) was a Brazilian martial artist. He was a prominent member of the Gracie family known for their founding of Brazilian jiu-jitsu and considered by some the family's best ever fighter. He was teacher of Rickson Gracie, Carlos Gracie Jr., Royler Gracie, Maurício \"Maurição\" Motta Gomes, Márcio \"Macarrão\" Stambowsky, Rigan Machado and Romero \"Jacare\" Cavalcanti. He died in a hang-gliding accident in 1982. He is the father of Rolles Gracie and Igor Gracie.\n\nThe Famous Five\nThe Famous Five was a nickname for the original five black belt students of Rolls Gracie, who were well-known for their fighting skills. Just prior to his untimely death, Rolls promoted a sixth black belt into the group. The established terminology persisted so that the following six men continued to be called \"The Famous Five.\"\n\n Márcio Stambowsky\n Mauricio Motta Gomes\n Romero Cavalcanti\n Nicin Azulay\n Paulo Conde\n Mario Claudio Tallarico\n\nReferences\n\n1951 births\n1982 deaths\nAccidental deaths in Brazil\nBrazilian people of Scottish descent\nRolls\nIBJJF Hall of Fame inductees\nPeople awarded a red belt in Brazilian jiu-jitsu", "Else Alfelt (16 September 1910 – 9 August 1974) was a Danish artist who specialized in abstract paintings. She was one of two female members of the CoBrA movement. She was married to Carl-Henning Pedersen, another prominent CoBrA member.\n\nEarly life and education\nAlfelt was born in Copenhagen to the parents Carl Valdemar Ahlefeldt (1882–1954) and Edith Alexandra Regine Julie Thomsen (1893–1938). She began to paint in an early age and remained self-taught as an artist. When her parents divorced while Else was very young, she was sent away to an orphanage by her father’s new wife. Alfelt learned to paint around age 12 by trying to capture staff and other children at the orphanage.\n\nAt age 15, Alfelt attended the Technical School in Copenhagen for two years. Her training worked to prepare her to apply to the Art Academy in Copenhagen where she was ultimately turned down. According to her museum website, “the rejection was made on the grounds that she already possessed the necessary painting skills.”\nIn 1933, when Alfelt was 23 years old, she attended the International Folk High School in Elsinore. There, she met her future husband Carl-Henning Pederson. They married very quickly, and their daughter Vibeke Alfelt was born in 1934. From about 1934 to 1937, the couple struggled financially but felt inspired still, so they would paint over used canvases in order to continue their craft. This was how Pederson allegedly began painting, by being given a used canvas from his wife and instructed to make it his own.\n\nCareer\n\nAhlefeldt submitted her work to the annual Autumn Salon of Danish artists (Kunstnernes Efterårsudstilling) from 1929, but her work was not accepted until 1936, when she exhibited two naturalistic portraits. Soon after this, Alfelt's painting style shifted to a completely abstract idiom of meditative and colorful prismatic compositions.\n\nAlfelt was involved with the major avant-garde art movements in Denmark from the 1930s through the 1950s. She took part in Linien (The Line, 1934-1939), the artists' collective and art journal that was the first conduit of French Surrealism to Denmark. Under the German occupation of Denmark during World War Two, Alfelt was an integral component of Helhesten (The Hell-Horse, 1941-1944), the artists' group and art journal co-founded by Asger Jorn as a harbinger of experimental art and implicit cultural-political resistance. She was also an important member of CoBrA (1948-1951) after the war.\n\nAlfelt's work explored motifs such as spirals, mountains, and spheres, which she linked to expressions of \"inner space\". Alfelt was directly inspired by nature, specifically mountains, which she sought out on her many travels, such as her trip to Lapland 1945 and Japan in 1967. In addition to paintings she also produced several mosaics.\n\nShe was awarded the Tagea Brandt Rejselegat in 1961.\n\nNotable artworks\n\nPosthumous Exhibitions \n“Else Alfelt- The Flower of the Universe” – Carl Henning Pederson og Else Alfelts Museum; 2018.\n\nAlfelt was inspired by travels to Japan to incorporate Zen Buddhism into her artistic style, resulting in 100 meditative paintings all named “Flower of the Universe.” These paintings were all made from Since she created them while traveling to Japan, each piece was composed on paper since it was lightweight and easy to transport.\n\n“Abstract Women- Else Alfelt and Marianne Grønnow” – Carl Henning Pederson og Else Alfelts museum; March 2015-August 2015.\nAbstract women documents two Danish abstract female painters who have gone overlooked by history, and overshadowed by their husbands’ works. While the two artists vary greatly in style and technique, the CHPEA museum brings them together for this exhibition to bring attention to the ways their art challenges established societal norms.\n\nLegacy\n'Carl Henning Pedersen og Else Alfelts Museum' outside Herning. Else Alfelts Vej in the Ørestad district of Copenhagen is named after her. In September 2010, the museum displayed a large-scale exhibition called “Else Alfelt – The Aesthetics of Emptiness.” The exhibition was shown for five months to celebrate what would have been Alfelt’s 100th birthday. The museum page description of the event calls her “one of the most significant women artists in Danish modernism.”\n\nSee also\nList of Danish painters\nList of Danish women artists\n\nReferences\n\nExternal links\n\n'Carl Henning Pedersen og Else Alfelts Museum' - Else Alfelt \nElse Alfelt in Kunstindeks Danmark \n\n1910 births\n1974 deaths\n20th-century Danish painters\n20th-century Danish women artists\nAbstract painters\nArtists from Copenhagen\nDanish watercolourists\nDanish women painters\nRecipients of the Thorvaldsen Medal\nWomen watercolorists" ]
[ "David Frost", "After 1980", "What was going on after 1980?", "Frost was one of the \"Famous Five\" who launched TV-am", "What was TV-am?", "the station began with an unsustainable \"highbrow\" approach. Frost remained a presenter after restructuring.", "Who else was a famous five member?", "Richard Branson and other interests," ]	C_217351d2fd5a4a9bb19386d270564876_0	Were there other shows?	4	Were there other shows besides after 1980?	David Frost	Frost was one of the "Famous Five" who launched TV-am in February 1983 but, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. CANNOTANSWER	his Sunday morning interview programme Breakfast	Sir David Paradine Frost (7 April 1939 – 31 August 2013) was a British television host, journalist, comedian and writer. He rose to prominence during the satire boom in the United Kingdom when he was chosen to host the satirical programme That Was the Week That Was in 1962. His success on this show led to work as a host on American television. He became known for his television interviews with senior political figures, among them the Nixon interviews with President Richard Nixon in 1977 which were adapted into a stage play and film. Frost interviewed all eight British prime ministers serving between 1964 and 2016 and all seven American presidents in office between 1969 and 2008. He was one of the people behind the launch of ITV station TV-am in 1983. He was the inaugural host of the US newsmagazine programme Inside Edition. He hosted the Sunday morning interview programme Breakfast with Frost for the BBC from 1993 to 2005, and spent two decades as host of Through the Keyhole. From 2006 to 2012, he hosted the weekly programme Frost Over the World on Al Jazeera English, and the weekly programme The Frost Interview from 2012. He received the BAFTA Fellowship from the British Academy of Film and Television Arts in 2005 and the Lifetime Achievement Award at the Emmy Awards in 2009. Frost died on 31 August 2013, aged 74, on board the cruise ship , where he had been engaged as a speaker. His memorial stone was unveiled in Poets' Corner of Westminster Abbey in March 2014. Early life David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally – while residing in Raunds, Northamptonshire – Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C. For two years before going to university he was a lay preacher, following his witnessing of an event presided over by Christian evangelist Billy Graham. Frost studied at Gonville and Caius College, Cambridge, from 1958, graduating with a Third in English. He was editor of both the university's student paper, Varsity, and the literary magazine Granta. He was also secretary of the Footlights Drama Society, which included actors such as Peter Cook and John Bird. During this period Frost appeared on television for the first time in an edition of Anglia Television's Town And Gown, performing several comic characters. "The first time I stepped into a television studio", he once remembered, "it felt like home. It didn't scare me. Talking to the camera seemed the most natural thing in the world." According to some accounts, Frost was the victim of snobbery from the group with which he associated at Cambridge, which has been confirmed by Barry Humphries. Christopher Booker, while asserting that Frost's one defining characteristic was ambition, commented that he was impossible to dislike. According to satirist John Wells, Old Etonian actor Jonathan Cecil congratulated Frost around this time for "that wonderfully silly voice" he used while performing, but then discovered that it was Frost's real voice. After leaving university, Frost became a trainee at Associated-Rediffusion. Meanwhile, having already gained an agent, Frost performed in cabaret at the Blue Angel nightclub in Berkeley Square, London during the evenings. That Was the Week That Was Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, or TW3, after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962–63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the U.S. during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York City production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. After TW3 Frost fronted various programmes following the success of TW3, including its immediate successor, Not So Much a Programme, More a Way of Life, which he co-chaired with Willie Rushton and poet P. J. Kavanagh. Screened on three evenings each week, this series was dropped after a sketch was found to be offensive to Catholics and another to the British royal family. More successful was The Frost Report, broadcast between 1966 and 1967. The show launched the television careers of John Cleese, Ronnie Barker, and Ronnie Corbett, who appeared together in the Class sketch. Frost signed for Rediffusion, the ITV weekday contractor in London, to produce a "heavier" interview-based show called The Frost Programme. Guests included Oswald Mosley and Rhodesian premier Ian Smith. His memorable dressing-down of insurance fraudster Emil Savundra, regarded as the first example of "trial by television" in the UK, led to concern from ITV executives that it might affect Savundra's right to a fair trial. Frost's introductory words for his television programmes during this period, "Hello, good evening and welcome", became his catchphrase and were often mimicked. Frost was a member of a successful consortium, including former executives from the BBC, that bid for an ITV franchise in 1967. This became London Weekend Television, which began broadcasting in July 1968. The station began with a programming policy that was considered "highbrow" and suffered launch problems with low audience ratings and financial problems. A September 1968 meeting of the Network Programme Committee, which made decisions about the channel's scheduling, was particularly fraught, with Lew Grade expressing hatred of Frost in his presence. Frost, according to Kitty Muggeridge in 1967, had "risen without a trace." He was involved in the station's early years as a presenter. On 20 and 21 July 1969, during the British television Apollo 11 coverage, he presented David Frost's Moon Party for LWT, a ten-hour discussion and entertainment marathon from LWT's Wembley Studios, on the night Neil Armstrong walked on the moon. Two of his guests on this programme were British historian A. J. P. Taylor and entertainer Sammy Davis, Jr. Around this time Frost interviewed Rupert Murdoch whose recently acquired Sunday newspaper, the News of the World, had just serialised the memoirs of Christine Keeler, a central figure in the Profumo scandal of 1963. For the Australian publisher, this was a bruising encounter, although Frost said that he had not intended it to be. Murdoch confessed to his biographer Michael Wolff that the incident had convinced him that Frost was "an arrogant bastard, [and] a bloody bugger". In the late 1960s Frost began an intermittent involvement in the film industry. Setting up David Paradine Ltd in 1966, he part-financed The Rise and Rise of Michael Rimmer (1970), in which the lead character was based partly on Frost, and gained an executive producer credit. In 1976, Frost was the executive producer of the British musical film The Slipper and the Rose, retelling the story of Cinderella. Frost was the subject of This Is Your Life in January 1972 when he was surprised by Eamonn Andrews at London's Quaglino's restaurant. American career from 1968 to 1980 In 1968, he signed a contract worth £125,000 to appear on American television in his own show on three evenings each week, the largest such arrangement for a British television personality at the time. From 1969 to 1972, Frost kept his London shows and fronted The David Frost Show on the Group W (U.S. Westinghouse Corporation) television stations in the U.S. His 1970 TV special, Frost on America, featured guests such as Jack Benny and Tennessee Williams. In a declassified transcript of a 1972 telephone call between Frost and Henry Kissinger, President Nixon's national security advisor and secretary of state, Frost urged Kissinger to call chess Grandmaster Bobby Fischer and urge him to compete in that year's World Chess Championship. During this call, Frost revealed that he was working on a novel. Frost interviewed heavyweight boxer Muhammad Ali in 1974 at his training camp in Deer Lake, Pennsylvania before "The Rumble in the Jungle" with George Foreman. Ali remarked, "Listen David, when I meet this man, if you think the world was surprised when Nixon resigned, wait till I whip Foreman's behind." In 1977, the Nixon Interviews, which were five 90-minute interviews with former U.S. President Richard Nixon, were broadcast. Nixon was paid $600,000 plus a share of the profits for the interviews, which had to be funded by Frost himself after the U.S. television networks turned down the programme, describing it as "checkbook journalism". Frost's company negotiated its own deals to syndicate the interviews with local stations across the U.S. and internationally, creating what Ron Howard described as "the first fourth network". Frost taped around 29 hours of interviews with Nixon over four weeks. Nixon, who had previously avoided discussing his role in the Watergate scandal that had led to his resignation as president in 1974, expressed contrition saying, "I let the American people down and I have to carry that burden with me for the rest of my life". Frost asked Nixon whether the president could do something illegal in certain situations such as against antiwar groups and others if he decides "it's in the best interests of the nation or something". Nixon replied: "Well, when the president does it, that means that it is not illegal", by definition. Following the 1979 Iranian Revolution, Frost was the last person to interview Mohammad Reza Pahlavi, the deposed Shah of Iran. The interview took place on Contadora Island in Panama in January 1980, and was broadcast by the American Broadcasting Company in the U.S. on 17 January. The Shah talks about his wealth, his illness, the SAVAK, the torture during his reign, Khomeini, his threat of extradition to Iran and draws a summary of the current situation in Iran. Frost was an organiser of the Music for UNICEF Concert at the United Nations General Assembly in 1979. Ten years later, he was hired as the anchor of new American tabloid news program Inside Edition. He was dismissed after only three weeks because of poor ratings. It seems he was "considered too high-brow for the show's low-brow format." After 1980 Frost was one of the "Famous Five" who launched TV-am in February 1983; however, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster, Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. Achievements Frost was the only person to have interviewed all eight British prime ministers serving between 1964 and 2016 (Harold Wilson, Edward Heath, James Callaghan, Margaret Thatcher, John Major, Tony Blair, Gordon Brown, and David Cameron) and all seven U.S. presidents in office between 1969 and 2008 (Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush). He was a patron and former vice-president of the Motor Neurone Disease Association charity, as well as being a patron of the Alzheimer's Research Trust, Hearing Star Benevolent Fund, East Anglia's Children's Hospices, the Home Farm Trust and the Elton John AIDS Foundation. He was also recognized for his contributions to the women's charity "Wellbeing for Women". After having been in television for 40 years, Frost was estimated to be worth £200 million by the Sunday Times Rich List in 2006, a figure he considered a significant overestimate in 2011. The valuation included the assets of his main British company and subsidiaries, plus homes in London and the country. Frost/Nixon Frost/Nixon was originally a play written by Peter Morgan, developed from the interviews that Frost had conducted with Richard Nixon in 1977. Frost/Nixon was presented as a stage production in London in 2006 and on Broadway in 2007. Frank Langella won a Leading Actor Tony Award for his portrayal of Nixon; the play also received nominations for Best Play and Best Direction. The play was adapted into a Hollywood motion picture entitled Frost/Nixon and starring Michael Sheen as Frost and Langella as Nixon, both reprising their stage roles. The film was released in 2008 and directed by Ron Howard. It was nominated for five Golden Globe Awards, winning none: Best Motion Picture-Drama, Best Director-Drama, Best Actor-Drama (Langella), Best Screenplay, and Best Original Score. It was also nominated for five Academy Awards, again winning none: Best Picture, Best Actor (Langella), Best Director, Best Adapted Screenplay, and Best Film Editing. In February 2009, Frost was featured on the Australian Broadcasting Corporation's international affairs programme Foreign Correspondent in a report titled "The World According To Frost", reflecting on his long career and portrayal in the film Frost/Nixon. Personal life Frost was known for several relationships with high-profile women. In the mid-1960s, he dated British actress Janette Scott, between her marriages to songwriter Jackie Rae and singer Mel Tormé; in the early 1970s he was engaged to American actress Diahann Carroll; between 1972 and 1977 he had a relationship with British socialite Caroline Cushing; in 1981, he married Lynne Frederick, widow of Peter Sellers, but they divorced the following year. He also had an 18-year intermittent affair with American actress Carol Lynley. On 19 March 1983, Frost married Lady Carina Fitzalan-Howard, daughter of the 17th Duke of Norfolk. Three sons were born to the couple over the next five years. His second son, Wilfred Frost, followed in his father's footsteps and currently works as an anchor at CNBC. They lived for many years in Chelsea, London, and kept a weekend home at Michelmersh Court in Hampshire. Death On 31 August 2013, Frost was aboard the Cunard cruise ship when he died of a heart attack at the age of 74. Cunard said that the vessel had left Southampton for a ten-day cruise in the Mediterranean, ending in Rome. A post-mortem found that Frost had hypertrophic cardiomyopathy. Frost's son, Miles, died from the same condition at the age of 31 in 2015. A funeral service was held at Holy Trinity Church in Nuffield, Oxfordshire, on 12 September 2013, after which he was interred in the church's graveyard. On 13 March 2014, a memorial service was held at Westminster Abbey, at which Frost was honoured with a memorial stone in Poets' Corner. Tributes British Prime Minister David Cameron paid tribute, saying: "He could be—and certainly was with me—both a friend and a fearsome interviewer." Michael Grade commented: "He was kind of a television renaissance man. He could put his hand to anything. He could turn over Richard Nixon or he could win the comedy prize at the Montreux Golden Rose festival." Selected awards and honours 1970: Officer of the Order of the British Empire (OBE) 1970: Honorary Doctor of Laws degree of Emerson College 1993: Knight Bachelor 1994: Honorary doctoral degree of the University of Sussex 2000: Golden Plate Award of the American Academy of Achievement 2005: Fellowship of the British Academy of Film and Television Arts BAFTA 2009: Honorary Doctor of Letters degree of the University of Winchester 2009: Lifetime Achievement Award at the Emmy Awards Bibliography Non-fiction How to Live Under Labour – or at Least Have as Much Chance as Anyone Else (1964) To England with Love (1968). With Antony Jay. The Presidential Debate, 1968: David Frost talks with Vice-President Hubert H. Humphrey (and others) (1968). The Americans (1970) Billy Graham Talks with David Frost (1972) Whitlam and Frost: The Full Text of Their TV Conversations Plus Exclusive New Interviews (1974) "I Gave Them a Sword": Behind the Scenes of the Nixon Interviews (1978). Reissued as Frost/Nixon in 2007. David Frost's Book of Millionaires, Multimillionaires, and Really Rich People (1984) The World's Shortest Books (1987) An Autobiography. Part 1: From Congregations to Audiences (1993) With Michael Deakin and illustrated by Willie Rushton I Could Have Kicked Myself: David Frost's Book of the World's Worst Decisions (1982) Who Wants to Be a Millionaire? (1983) If You'll Believe That (1986) With Michael Shea The Mid-Atlantic Companion, or, How to Misunderstand Americans as Much as They Misunderstand Us (1986) The Rich Tide: Men, Women, Ideas and Their Transatlantic Impact (1986) References External links BBC News Profile of David Frost TV Cream on David Frost TV Cream on Paradine Productions 1939 births 2013 deaths Al Jazeera people Alumni of Gonville and Caius College, Cambridge BAFTA fellows BBC newsreaders and journalists British broadcast news analysts British reporters and correspondents British television producers English comedians English game show hosts English memoirists English Methodists English satirists English social commentators English political writers English television personalities English television talk show hosts International Emmy Founders Award winners Knights Bachelor Officers of the Order of the British Empire People educated at Gillingham Grammar School, Kent People educated at St Hugh's School, Woodhall Spa People from Raunds People from Tenterden People from Test Valley People from Wellingborough People who died at sea Primetime Emmy Award winners 20th-century British businesspeople	true	[ "Jeremy Hardy Speaks to the Nation was a BBC Radio 4 series of comedy lectures hosted by Jeremy Hardy, first broadcast in September 1993. The tenth and final series aired in 2014.\n\nThe lectures were on topics like \"How to have a baby\", \"How to be truly loved\", and often included Hardy's personal views on current affairs.\n\nThere were a series of sketches and mock interviews carried out with his two guests. Gordon Kennedy and Debbie Isitt were the two main guests, while other guests included Meera Syal, Rebecca Front, Alison Steadman, Stephen Frost, Miranda Richardson and Harriet Walter.\n\nEpisode guide\n\nAudio Books\nJeremy Hardy Speaks to the Nation currently has four audio books on sale.\n\nHow To Be Happy and other shows - Released on 19 July 2004.\nHow To Be Young and other shows - Released on 19 July 2004.\nHow To Be Afraid and other shows - Released on 15 November 2004.\nHow To Live and other shows - Released on 15 November 2004.\n\nIn addition the first series was adapted as a book, , published by Methuen in 1993.\n\nAwards\nThe show was nominated in 2004 for the Sony Comedy award.\n\nReferences\n\nExternal links\n\nBBC Radio comedy programmes\nBBC Radio 4 programmes", "Britain's Brightest Family is a British quiz show broadcast by ITV and presented by Anne Hegerty. It has been airing since 10 January 2018.\n\nFormat\nThe family - a young captain, and two older relatives - answer questions on the buzzers. Unlike most other shows, this quiz isn't straightforward trivia, but uses pictures and graphics throughout.\n\nThe show opens and closes with a team round. One player buzzes in, and nominates another member of their team to answer the question. To show this, the nominated player's chair goes a little way up.\n\nBuoyed by a decent reception, a second series was commissioned. There were some changes in the format and set design. Quick-fire questions on the buzzers still came first and last. There is now only one head-to-head round, and it's questions about a single random topic.\n\nA multiple choice round involved all six players tapping answers to the same questions. There was a memory round. The final quick-fire round was timed, rather than for five questions, and still played for double points.\n\nWinners\n\nRegular series\n\nCelebrity series\n\nTransmissions\n\nRegular series\n\nCelebrity series\n\nReferences\n\nExternal links\n\n2018 British television series debuts\n2010s British game shows\n2020s British game shows\nBritish game shows\nEnglish-language television shows\nITV game shows\nTelevision series by ITV Studios" ]
[ "David Frost", "After 1980", "What was going on after 1980?", "Frost was one of the \"Famous Five\" who launched TV-am", "What was TV-am?", "the station began with an unsustainable \"highbrow\" approach. Frost remained a presenter after restructuring.", "Who else was a famous five member?", "Richard Branson and other interests,", "Were there other shows?", "his Sunday morning interview programme Breakfast" ]	C_217351d2fd5a4a9bb19386d270564876_0	How did it do?	5	How did after 1980 do?	David Frost	Frost was one of the "Famous Five" who launched TV-am in February 1983 but, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. CANNOTANSWER	Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1.	Sir David Paradine Frost (7 April 1939 – 31 August 2013) was a British television host, journalist, comedian and writer. He rose to prominence during the satire boom in the United Kingdom when he was chosen to host the satirical programme That Was the Week That Was in 1962. His success on this show led to work as a host on American television. He became known for his television interviews with senior political figures, among them the Nixon interviews with President Richard Nixon in 1977 which were adapted into a stage play and film. Frost interviewed all eight British prime ministers serving between 1964 and 2016 and all seven American presidents in office between 1969 and 2008. He was one of the people behind the launch of ITV station TV-am in 1983. He was the inaugural host of the US newsmagazine programme Inside Edition. He hosted the Sunday morning interview programme Breakfast with Frost for the BBC from 1993 to 2005, and spent two decades as host of Through the Keyhole. From 2006 to 2012, he hosted the weekly programme Frost Over the World on Al Jazeera English, and the weekly programme The Frost Interview from 2012. He received the BAFTA Fellowship from the British Academy of Film and Television Arts in 2005 and the Lifetime Achievement Award at the Emmy Awards in 2009. Frost died on 31 August 2013, aged 74, on board the cruise ship , where he had been engaged as a speaker. His memorial stone was unveiled in Poets' Corner of Westminster Abbey in March 2014. Early life David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally – while residing in Raunds, Northamptonshire – Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C. For two years before going to university he was a lay preacher, following his witnessing of an event presided over by Christian evangelist Billy Graham. Frost studied at Gonville and Caius College, Cambridge, from 1958, graduating with a Third in English. He was editor of both the university's student paper, Varsity, and the literary magazine Granta. He was also secretary of the Footlights Drama Society, which included actors such as Peter Cook and John Bird. During this period Frost appeared on television for the first time in an edition of Anglia Television's Town And Gown, performing several comic characters. "The first time I stepped into a television studio", he once remembered, "it felt like home. It didn't scare me. Talking to the camera seemed the most natural thing in the world." According to some accounts, Frost was the victim of snobbery from the group with which he associated at Cambridge, which has been confirmed by Barry Humphries. Christopher Booker, while asserting that Frost's one defining characteristic was ambition, commented that he was impossible to dislike. According to satirist John Wells, Old Etonian actor Jonathan Cecil congratulated Frost around this time for "that wonderfully silly voice" he used while performing, but then discovered that it was Frost's real voice. After leaving university, Frost became a trainee at Associated-Rediffusion. Meanwhile, having already gained an agent, Frost performed in cabaret at the Blue Angel nightclub in Berkeley Square, London during the evenings. That Was the Week That Was Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, or TW3, after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962–63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the U.S. during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York City production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. After TW3 Frost fronted various programmes following the success of TW3, including its immediate successor, Not So Much a Programme, More a Way of Life, which he co-chaired with Willie Rushton and poet P. J. Kavanagh. Screened on three evenings each week, this series was dropped after a sketch was found to be offensive to Catholics and another to the British royal family. More successful was The Frost Report, broadcast between 1966 and 1967. The show launched the television careers of John Cleese, Ronnie Barker, and Ronnie Corbett, who appeared together in the Class sketch. Frost signed for Rediffusion, the ITV weekday contractor in London, to produce a "heavier" interview-based show called The Frost Programme. Guests included Oswald Mosley and Rhodesian premier Ian Smith. His memorable dressing-down of insurance fraudster Emil Savundra, regarded as the first example of "trial by television" in the UK, led to concern from ITV executives that it might affect Savundra's right to a fair trial. Frost's introductory words for his television programmes during this period, "Hello, good evening and welcome", became his catchphrase and were often mimicked. Frost was a member of a successful consortium, including former executives from the BBC, that bid for an ITV franchise in 1967. This became London Weekend Television, which began broadcasting in July 1968. The station began with a programming policy that was considered "highbrow" and suffered launch problems with low audience ratings and financial problems. A September 1968 meeting of the Network Programme Committee, which made decisions about the channel's scheduling, was particularly fraught, with Lew Grade expressing hatred of Frost in his presence. Frost, according to Kitty Muggeridge in 1967, had "risen without a trace." He was involved in the station's early years as a presenter. On 20 and 21 July 1969, during the British television Apollo 11 coverage, he presented David Frost's Moon Party for LWT, a ten-hour discussion and entertainment marathon from LWT's Wembley Studios, on the night Neil Armstrong walked on the moon. Two of his guests on this programme were British historian A. J. P. Taylor and entertainer Sammy Davis, Jr. Around this time Frost interviewed Rupert Murdoch whose recently acquired Sunday newspaper, the News of the World, had just serialised the memoirs of Christine Keeler, a central figure in the Profumo scandal of 1963. For the Australian publisher, this was a bruising encounter, although Frost said that he had not intended it to be. Murdoch confessed to his biographer Michael Wolff that the incident had convinced him that Frost was "an arrogant bastard, [and] a bloody bugger". In the late 1960s Frost began an intermittent involvement in the film industry. Setting up David Paradine Ltd in 1966, he part-financed The Rise and Rise of Michael Rimmer (1970), in which the lead character was based partly on Frost, and gained an executive producer credit. In 1976, Frost was the executive producer of the British musical film The Slipper and the Rose, retelling the story of Cinderella. Frost was the subject of This Is Your Life in January 1972 when he was surprised by Eamonn Andrews at London's Quaglino's restaurant. American career from 1968 to 1980 In 1968, he signed a contract worth £125,000 to appear on American television in his own show on three evenings each week, the largest such arrangement for a British television personality at the time. From 1969 to 1972, Frost kept his London shows and fronted The David Frost Show on the Group W (U.S. Westinghouse Corporation) television stations in the U.S. His 1970 TV special, Frost on America, featured guests such as Jack Benny and Tennessee Williams. In a declassified transcript of a 1972 telephone call between Frost and Henry Kissinger, President Nixon's national security advisor and secretary of state, Frost urged Kissinger to call chess Grandmaster Bobby Fischer and urge him to compete in that year's World Chess Championship. During this call, Frost revealed that he was working on a novel. Frost interviewed heavyweight boxer Muhammad Ali in 1974 at his training camp in Deer Lake, Pennsylvania before "The Rumble in the Jungle" with George Foreman. Ali remarked, "Listen David, when I meet this man, if you think the world was surprised when Nixon resigned, wait till I whip Foreman's behind." In 1977, the Nixon Interviews, which were five 90-minute interviews with former U.S. President Richard Nixon, were broadcast. Nixon was paid $600,000 plus a share of the profits for the interviews, which had to be funded by Frost himself after the U.S. television networks turned down the programme, describing it as "checkbook journalism". Frost's company negotiated its own deals to syndicate the interviews with local stations across the U.S. and internationally, creating what Ron Howard described as "the first fourth network". Frost taped around 29 hours of interviews with Nixon over four weeks. Nixon, who had previously avoided discussing his role in the Watergate scandal that had led to his resignation as president in 1974, expressed contrition saying, "I let the American people down and I have to carry that burden with me for the rest of my life". Frost asked Nixon whether the president could do something illegal in certain situations such as against antiwar groups and others if he decides "it's in the best interests of the nation or something". Nixon replied: "Well, when the president does it, that means that it is not illegal", by definition. Following the 1979 Iranian Revolution, Frost was the last person to interview Mohammad Reza Pahlavi, the deposed Shah of Iran. The interview took place on Contadora Island in Panama in January 1980, and was broadcast by the American Broadcasting Company in the U.S. on 17 January. The Shah talks about his wealth, his illness, the SAVAK, the torture during his reign, Khomeini, his threat of extradition to Iran and draws a summary of the current situation in Iran. Frost was an organiser of the Music for UNICEF Concert at the United Nations General Assembly in 1979. Ten years later, he was hired as the anchor of new American tabloid news program Inside Edition. He was dismissed after only three weeks because of poor ratings. It seems he was "considered too high-brow for the show's low-brow format." After 1980 Frost was one of the "Famous Five" who launched TV-am in February 1983; however, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster, Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. Achievements Frost was the only person to have interviewed all eight British prime ministers serving between 1964 and 2016 (Harold Wilson, Edward Heath, James Callaghan, Margaret Thatcher, John Major, Tony Blair, Gordon Brown, and David Cameron) and all seven U.S. presidents in office between 1969 and 2008 (Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush). He was a patron and former vice-president of the Motor Neurone Disease Association charity, as well as being a patron of the Alzheimer's Research Trust, Hearing Star Benevolent Fund, East Anglia's Children's Hospices, the Home Farm Trust and the Elton John AIDS Foundation. He was also recognized for his contributions to the women's charity "Wellbeing for Women". After having been in television for 40 years, Frost was estimated to be worth £200 million by the Sunday Times Rich List in 2006, a figure he considered a significant overestimate in 2011. The valuation included the assets of his main British company and subsidiaries, plus homes in London and the country. Frost/Nixon Frost/Nixon was originally a play written by Peter Morgan, developed from the interviews that Frost had conducted with Richard Nixon in 1977. Frost/Nixon was presented as a stage production in London in 2006 and on Broadway in 2007. Frank Langella won a Leading Actor Tony Award for his portrayal of Nixon; the play also received nominations for Best Play and Best Direction. The play was adapted into a Hollywood motion picture entitled Frost/Nixon and starring Michael Sheen as Frost and Langella as Nixon, both reprising their stage roles. The film was released in 2008 and directed by Ron Howard. It was nominated for five Golden Globe Awards, winning none: Best Motion Picture-Drama, Best Director-Drama, Best Actor-Drama (Langella), Best Screenplay, and Best Original Score. It was also nominated for five Academy Awards, again winning none: Best Picture, Best Actor (Langella), Best Director, Best Adapted Screenplay, and Best Film Editing. In February 2009, Frost was featured on the Australian Broadcasting Corporation's international affairs programme Foreign Correspondent in a report titled "The World According To Frost", reflecting on his long career and portrayal in the film Frost/Nixon. Personal life Frost was known for several relationships with high-profile women. In the mid-1960s, he dated British actress Janette Scott, between her marriages to songwriter Jackie Rae and singer Mel Tormé; in the early 1970s he was engaged to American actress Diahann Carroll; between 1972 and 1977 he had a relationship with British socialite Caroline Cushing; in 1981, he married Lynne Frederick, widow of Peter Sellers, but they divorced the following year. He also had an 18-year intermittent affair with American actress Carol Lynley. On 19 March 1983, Frost married Lady Carina Fitzalan-Howard, daughter of the 17th Duke of Norfolk. Three sons were born to the couple over the next five years. His second son, Wilfred Frost, followed in his father's footsteps and currently works as an anchor at CNBC. They lived for many years in Chelsea, London, and kept a weekend home at Michelmersh Court in Hampshire. Death On 31 August 2013, Frost was aboard the Cunard cruise ship when he died of a heart attack at the age of 74. Cunard said that the vessel had left Southampton for a ten-day cruise in the Mediterranean, ending in Rome. A post-mortem found that Frost had hypertrophic cardiomyopathy. Frost's son, Miles, died from the same condition at the age of 31 in 2015. A funeral service was held at Holy Trinity Church in Nuffield, Oxfordshire, on 12 September 2013, after which he was interred in the church's graveyard. On 13 March 2014, a memorial service was held at Westminster Abbey, at which Frost was honoured with a memorial stone in Poets' Corner. Tributes British Prime Minister David Cameron paid tribute, saying: "He could be—and certainly was with me—both a friend and a fearsome interviewer." Michael Grade commented: "He was kind of a television renaissance man. He could put his hand to anything. He could turn over Richard Nixon or he could win the comedy prize at the Montreux Golden Rose festival." Selected awards and honours 1970: Officer of the Order of the British Empire (OBE) 1970: Honorary Doctor of Laws degree of Emerson College 1993: Knight Bachelor 1994: Honorary doctoral degree of the University of Sussex 2000: Golden Plate Award of the American Academy of Achievement 2005: Fellowship of the British Academy of Film and Television Arts BAFTA 2009: Honorary Doctor of Letters degree of the University of Winchester 2009: Lifetime Achievement Award at the Emmy Awards Bibliography Non-fiction How to Live Under Labour – or at Least Have as Much Chance as Anyone Else (1964) To England with Love (1968). With Antony Jay. The Presidential Debate, 1968: David Frost talks with Vice-President Hubert H. Humphrey (and others) (1968). The Americans (1970) Billy Graham Talks with David Frost (1972) Whitlam and Frost: The Full Text of Their TV Conversations Plus Exclusive New Interviews (1974) "I Gave Them a Sword": Behind the Scenes of the Nixon Interviews (1978). Reissued as Frost/Nixon in 2007. David Frost's Book of Millionaires, Multimillionaires, and Really Rich People (1984) The World's Shortest Books (1987) An Autobiography. Part 1: From Congregations to Audiences (1993) With Michael Deakin and illustrated by Willie Rushton I Could Have Kicked Myself: David Frost's Book of the World's Worst Decisions (1982) Who Wants to Be a Millionaire? (1983) If You'll Believe That (1986) With Michael Shea The Mid-Atlantic Companion, or, How to Misunderstand Americans as Much as They Misunderstand Us (1986) The Rich Tide: Men, Women, Ideas and Their Transatlantic Impact (1986) References External links BBC News Profile of David Frost TV Cream on David Frost TV Cream on Paradine Productions 1939 births 2013 deaths Al Jazeera people Alumni of Gonville and Caius College, Cambridge BAFTA fellows BBC newsreaders and journalists British broadcast news analysts British reporters and correspondents British television producers English comedians English game show hosts English memoirists English Methodists English satirists English social commentators English political writers English television personalities English television talk show hosts International Emmy Founders Award winners Knights Bachelor Officers of the Order of the British Empire People educated at Gillingham Grammar School, Kent People educated at St Hugh's School, Woodhall Spa People from Raunds People from Tenterden People from Test Valley People from Wellingborough People who died at sea Primetime Emmy Award winners 20th-century British businesspeople	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", "\"How Do I Deal\" is a song by American actress Jennifer Love Hewitt from the soundtrack to the film I Still Know What You Did Last Summer. The song was released as a single on November 17, 1998, with an accompanying music video. The single became Hewitt's one and only appearance on the US Billboard Hot 100 singles chart, peaking at number 59 in a seven-week run. Although not a big success in America, the single reached number five in New Zealand and peaked at number eight in Australia, where it is certified gold.\n\nTrack listings\nUS CD, 7-inch, and cassette single\n \"How Do I Deal\" (single version) – 3:23\n \"Try to Say Goodbye\" (performed by Jory Eve) – 3:36\n\nEuropean CD single\n \"How Do I Deal\" – 3:24\n \"Sugar Is Sweeter\" (performed by CJ Bolland) – 5:34\n\nAustralian CD single\n \"How Do I Deal\" – 3:23\n \"Sugar Is Sweeter\" (Danny Saber Remix featuring Justin Warfield, performed by CJ Bolland) – 4:57\n \"Try to Say Goodbye\" (performed by Jory Eve) – 3:35\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nReferences\n\n143 Records singles\n1998 songs\n1999 singles\nJennifer Love Hewitt songs\nI Know What You Did Last Summer (franchise)\nMusic videos directed by Joseph Kahn\nSong recordings produced by Bruce Fairbairn\nSong recordings produced by David Foster\nSongs written for films\nWarner Records singles" ]
[ "David Frost", "After 1980", "What was going on after 1980?", "Frost was one of the \"Famous Five\" who launched TV-am", "What was TV-am?", "the station began with an unsustainable \"highbrow\" approach. Frost remained a presenter after restructuring.", "Who else was a famous five member?", "Richard Branson and other interests,", "Were there other shows?", "his Sunday morning interview programme Breakfast", "How did it do?", "Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1." ]	C_217351d2fd5a4a9bb19386d270564876_0	Are there any other interesting aspects about this article?	6	Are there any other interesting aspects about After 1980 along with TV-am?	David Frost	Frost was one of the "Famous Five" who launched TV-am in February 1983 but, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. CANNOTANSWER	Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World,	Sir David Paradine Frost (7 April 1939 – 31 August 2013) was a British television host, journalist, comedian and writer. He rose to prominence during the satire boom in the United Kingdom when he was chosen to host the satirical programme That Was the Week That Was in 1962. His success on this show led to work as a host on American television. He became known for his television interviews with senior political figures, among them the Nixon interviews with President Richard Nixon in 1977 which were adapted into a stage play and film. Frost interviewed all eight British prime ministers serving between 1964 and 2016 and all seven American presidents in office between 1969 and 2008. He was one of the people behind the launch of ITV station TV-am in 1983. He was the inaugural host of the US newsmagazine programme Inside Edition. He hosted the Sunday morning interview programme Breakfast with Frost for the BBC from 1993 to 2005, and spent two decades as host of Through the Keyhole. From 2006 to 2012, he hosted the weekly programme Frost Over the World on Al Jazeera English, and the weekly programme The Frost Interview from 2012. He received the BAFTA Fellowship from the British Academy of Film and Television Arts in 2005 and the Lifetime Achievement Award at the Emmy Awards in 2009. Frost died on 31 August 2013, aged 74, on board the cruise ship , where he had been engaged as a speaker. His memorial stone was unveiled in Poets' Corner of Westminster Abbey in March 2014. Early life David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally – while residing in Raunds, Northamptonshire – Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C. For two years before going to university he was a lay preacher, following his witnessing of an event presided over by Christian evangelist Billy Graham. Frost studied at Gonville and Caius College, Cambridge, from 1958, graduating with a Third in English. He was editor of both the university's student paper, Varsity, and the literary magazine Granta. He was also secretary of the Footlights Drama Society, which included actors such as Peter Cook and John Bird. During this period Frost appeared on television for the first time in an edition of Anglia Television's Town And Gown, performing several comic characters. "The first time I stepped into a television studio", he once remembered, "it felt like home. It didn't scare me. Talking to the camera seemed the most natural thing in the world." According to some accounts, Frost was the victim of snobbery from the group with which he associated at Cambridge, which has been confirmed by Barry Humphries. Christopher Booker, while asserting that Frost's one defining characteristic was ambition, commented that he was impossible to dislike. According to satirist John Wells, Old Etonian actor Jonathan Cecil congratulated Frost around this time for "that wonderfully silly voice" he used while performing, but then discovered that it was Frost's real voice. After leaving university, Frost became a trainee at Associated-Rediffusion. Meanwhile, having already gained an agent, Frost performed in cabaret at the Blue Angel nightclub in Berkeley Square, London during the evenings. That Was the Week That Was Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, or TW3, after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962–63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the U.S. during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York City production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. After TW3 Frost fronted various programmes following the success of TW3, including its immediate successor, Not So Much a Programme, More a Way of Life, which he co-chaired with Willie Rushton and poet P. J. Kavanagh. Screened on three evenings each week, this series was dropped after a sketch was found to be offensive to Catholics and another to the British royal family. More successful was The Frost Report, broadcast between 1966 and 1967. The show launched the television careers of John Cleese, Ronnie Barker, and Ronnie Corbett, who appeared together in the Class sketch. Frost signed for Rediffusion, the ITV weekday contractor in London, to produce a "heavier" interview-based show called The Frost Programme. Guests included Oswald Mosley and Rhodesian premier Ian Smith. His memorable dressing-down of insurance fraudster Emil Savundra, regarded as the first example of "trial by television" in the UK, led to concern from ITV executives that it might affect Savundra's right to a fair trial. Frost's introductory words for his television programmes during this period, "Hello, good evening and welcome", became his catchphrase and were often mimicked. Frost was a member of a successful consortium, including former executives from the BBC, that bid for an ITV franchise in 1967. This became London Weekend Television, which began broadcasting in July 1968. The station began with a programming policy that was considered "highbrow" and suffered launch problems with low audience ratings and financial problems. A September 1968 meeting of the Network Programme Committee, which made decisions about the channel's scheduling, was particularly fraught, with Lew Grade expressing hatred of Frost in his presence. Frost, according to Kitty Muggeridge in 1967, had "risen without a trace." He was involved in the station's early years as a presenter. On 20 and 21 July 1969, during the British television Apollo 11 coverage, he presented David Frost's Moon Party for LWT, a ten-hour discussion and entertainment marathon from LWT's Wembley Studios, on the night Neil Armstrong walked on the moon. Two of his guests on this programme were British historian A. J. P. Taylor and entertainer Sammy Davis, Jr. Around this time Frost interviewed Rupert Murdoch whose recently acquired Sunday newspaper, the News of the World, had just serialised the memoirs of Christine Keeler, a central figure in the Profumo scandal of 1963. For the Australian publisher, this was a bruising encounter, although Frost said that he had not intended it to be. Murdoch confessed to his biographer Michael Wolff that the incident had convinced him that Frost was "an arrogant bastard, [and] a bloody bugger". In the late 1960s Frost began an intermittent involvement in the film industry. Setting up David Paradine Ltd in 1966, he part-financed The Rise and Rise of Michael Rimmer (1970), in which the lead character was based partly on Frost, and gained an executive producer credit. In 1976, Frost was the executive producer of the British musical film The Slipper and the Rose, retelling the story of Cinderella. Frost was the subject of This Is Your Life in January 1972 when he was surprised by Eamonn Andrews at London's Quaglino's restaurant. American career from 1968 to 1980 In 1968, he signed a contract worth £125,000 to appear on American television in his own show on three evenings each week, the largest such arrangement for a British television personality at the time. From 1969 to 1972, Frost kept his London shows and fronted The David Frost Show on the Group W (U.S. Westinghouse Corporation) television stations in the U.S. His 1970 TV special, Frost on America, featured guests such as Jack Benny and Tennessee Williams. In a declassified transcript of a 1972 telephone call between Frost and Henry Kissinger, President Nixon's national security advisor and secretary of state, Frost urged Kissinger to call chess Grandmaster Bobby Fischer and urge him to compete in that year's World Chess Championship. During this call, Frost revealed that he was working on a novel. Frost interviewed heavyweight boxer Muhammad Ali in 1974 at his training camp in Deer Lake, Pennsylvania before "The Rumble in the Jungle" with George Foreman. Ali remarked, "Listen David, when I meet this man, if you think the world was surprised when Nixon resigned, wait till I whip Foreman's behind." In 1977, the Nixon Interviews, which were five 90-minute interviews with former U.S. President Richard Nixon, were broadcast. Nixon was paid $600,000 plus a share of the profits for the interviews, which had to be funded by Frost himself after the U.S. television networks turned down the programme, describing it as "checkbook journalism". Frost's company negotiated its own deals to syndicate the interviews with local stations across the U.S. and internationally, creating what Ron Howard described as "the first fourth network". Frost taped around 29 hours of interviews with Nixon over four weeks. Nixon, who had previously avoided discussing his role in the Watergate scandal that had led to his resignation as president in 1974, expressed contrition saying, "I let the American people down and I have to carry that burden with me for the rest of my life". Frost asked Nixon whether the president could do something illegal in certain situations such as against antiwar groups and others if he decides "it's in the best interests of the nation or something". Nixon replied: "Well, when the president does it, that means that it is not illegal", by definition. Following the 1979 Iranian Revolution, Frost was the last person to interview Mohammad Reza Pahlavi, the deposed Shah of Iran. The interview took place on Contadora Island in Panama in January 1980, and was broadcast by the American Broadcasting Company in the U.S. on 17 January. The Shah talks about his wealth, his illness, the SAVAK, the torture during his reign, Khomeini, his threat of extradition to Iran and draws a summary of the current situation in Iran. Frost was an organiser of the Music for UNICEF Concert at the United Nations General Assembly in 1979. Ten years later, he was hired as the anchor of new American tabloid news program Inside Edition. He was dismissed after only three weeks because of poor ratings. It seems he was "considered too high-brow for the show's low-brow format." After 1980 Frost was one of the "Famous Five" who launched TV-am in February 1983; however, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster, Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. Achievements Frost was the only person to have interviewed all eight British prime ministers serving between 1964 and 2016 (Harold Wilson, Edward Heath, James Callaghan, Margaret Thatcher, John Major, Tony Blair, Gordon Brown, and David Cameron) and all seven U.S. presidents in office between 1969 and 2008 (Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush). He was a patron and former vice-president of the Motor Neurone Disease Association charity, as well as being a patron of the Alzheimer's Research Trust, Hearing Star Benevolent Fund, East Anglia's Children's Hospices, the Home Farm Trust and the Elton John AIDS Foundation. He was also recognized for his contributions to the women's charity "Wellbeing for Women". After having been in television for 40 years, Frost was estimated to be worth £200 million by the Sunday Times Rich List in 2006, a figure he considered a significant overestimate in 2011. The valuation included the assets of his main British company and subsidiaries, plus homes in London and the country. Frost/Nixon Frost/Nixon was originally a play written by Peter Morgan, developed from the interviews that Frost had conducted with Richard Nixon in 1977. Frost/Nixon was presented as a stage production in London in 2006 and on Broadway in 2007. Frank Langella won a Leading Actor Tony Award for his portrayal of Nixon; the play also received nominations for Best Play and Best Direction. The play was adapted into a Hollywood motion picture entitled Frost/Nixon and starring Michael Sheen as Frost and Langella as Nixon, both reprising their stage roles. The film was released in 2008 and directed by Ron Howard. It was nominated for five Golden Globe Awards, winning none: Best Motion Picture-Drama, Best Director-Drama, Best Actor-Drama (Langella), Best Screenplay, and Best Original Score. It was also nominated for five Academy Awards, again winning none: Best Picture, Best Actor (Langella), Best Director, Best Adapted Screenplay, and Best Film Editing. In February 2009, Frost was featured on the Australian Broadcasting Corporation's international affairs programme Foreign Correspondent in a report titled "The World According To Frost", reflecting on his long career and portrayal in the film Frost/Nixon. Personal life Frost was known for several relationships with high-profile women. In the mid-1960s, he dated British actress Janette Scott, between her marriages to songwriter Jackie Rae and singer Mel Tormé; in the early 1970s he was engaged to American actress Diahann Carroll; between 1972 and 1977 he had a relationship with British socialite Caroline Cushing; in 1981, he married Lynne Frederick, widow of Peter Sellers, but they divorced the following year. He also had an 18-year intermittent affair with American actress Carol Lynley. On 19 March 1983, Frost married Lady Carina Fitzalan-Howard, daughter of the 17th Duke of Norfolk. Three sons were born to the couple over the next five years. His second son, Wilfred Frost, followed in his father's footsteps and currently works as an anchor at CNBC. They lived for many years in Chelsea, London, and kept a weekend home at Michelmersh Court in Hampshire. Death On 31 August 2013, Frost was aboard the Cunard cruise ship when he died of a heart attack at the age of 74. Cunard said that the vessel had left Southampton for a ten-day cruise in the Mediterranean, ending in Rome. A post-mortem found that Frost had hypertrophic cardiomyopathy. Frost's son, Miles, died from the same condition at the age of 31 in 2015. A funeral service was held at Holy Trinity Church in Nuffield, Oxfordshire, on 12 September 2013, after which he was interred in the church's graveyard. On 13 March 2014, a memorial service was held at Westminster Abbey, at which Frost was honoured with a memorial stone in Poets' Corner. Tributes British Prime Minister David Cameron paid tribute, saying: "He could be—and certainly was with me—both a friend and a fearsome interviewer." Michael Grade commented: "He was kind of a television renaissance man. He could put his hand to anything. He could turn over Richard Nixon or he could win the comedy prize at the Montreux Golden Rose festival." Selected awards and honours 1970: Officer of the Order of the British Empire (OBE) 1970: Honorary Doctor of Laws degree of Emerson College 1993: Knight Bachelor 1994: Honorary doctoral degree of the University of Sussex 2000: Golden Plate Award of the American Academy of Achievement 2005: Fellowship of the British Academy of Film and Television Arts BAFTA 2009: Honorary Doctor of Letters degree of the University of Winchester 2009: Lifetime Achievement Award at the Emmy Awards Bibliography Non-fiction How to Live Under Labour – or at Least Have as Much Chance as Anyone Else (1964) To England with Love (1968). With Antony Jay. The Presidential Debate, 1968: David Frost talks with Vice-President Hubert H. Humphrey (and others) (1968). The Americans (1970) Billy Graham Talks with David Frost (1972) Whitlam and Frost: The Full Text of Their TV Conversations Plus Exclusive New Interviews (1974) "I Gave Them a Sword": Behind the Scenes of the Nixon Interviews (1978). Reissued as Frost/Nixon in 2007. David Frost's Book of Millionaires, Multimillionaires, and Really Rich People (1984) The World's Shortest Books (1987) An Autobiography. Part 1: From Congregations to Audiences (1993) With Michael Deakin and illustrated by Willie Rushton I Could Have Kicked Myself: David Frost's Book of the World's Worst Decisions (1982) Who Wants to Be a Millionaire? (1983) If You'll Believe That (1986) With Michael Shea The Mid-Atlantic Companion, or, How to Misunderstand Americans as Much as They Misunderstand Us (1986) The Rich Tide: Men, Women, Ideas and Their Transatlantic Impact (1986) References External links BBC News Profile of David Frost TV Cream on David Frost TV Cream on Paradine Productions 1939 births 2013 deaths Al Jazeera people Alumni of Gonville and Caius College, Cambridge BAFTA fellows BBC newsreaders and journalists British broadcast news analysts British reporters and correspondents British television producers English comedians English game show hosts English memoirists English Methodists English satirists English social commentators English political writers English television personalities English television talk show hosts International Emmy Founders Award winners Knights Bachelor Officers of the Order of the British Empire People educated at Gillingham Grammar School, Kent People educated at St Hugh's School, Woodhall Spa People from Raunds People from Tenterden People from Test Valley People from Wellingborough People who died at sea Primetime Emmy Award winners 20th-century British businesspeople	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" ]
[ "David Frost", "After 1980", "What was going on after 1980?", "Frost was one of the \"Famous Five\" who launched TV-am", "What was TV-am?", "the station began with an unsustainable \"highbrow\" approach. Frost remained a presenter after restructuring.", "Who else was a famous five member?", "Richard Branson and other interests,", "Were there other shows?", "his Sunday morning interview programme Breakfast", "How did it do?", "Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1.", "Are there any other interesting aspects about this article?", "Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World," ]	C_217351d2fd5a4a9bb19386d270564876_0	Did Over the World get good reviews?	7	Did Frost's Over the World get good reviews?	David Frost	Frost was one of the "Famous Five" who launched TV-am in February 1983 but, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. CANNOTANSWER	Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri.	Sir David Paradine Frost (7 April 1939 – 31 August 2013) was a British television host, journalist, comedian and writer. He rose to prominence during the satire boom in the United Kingdom when he was chosen to host the satirical programme That Was the Week That Was in 1962. His success on this show led to work as a host on American television. He became known for his television interviews with senior political figures, among them the Nixon interviews with President Richard Nixon in 1977 which were adapted into a stage play and film. Frost interviewed all eight British prime ministers serving between 1964 and 2016 and all seven American presidents in office between 1969 and 2008. He was one of the people behind the launch of ITV station TV-am in 1983. He was the inaugural host of the US newsmagazine programme Inside Edition. He hosted the Sunday morning interview programme Breakfast with Frost for the BBC from 1993 to 2005, and spent two decades as host of Through the Keyhole. From 2006 to 2012, he hosted the weekly programme Frost Over the World on Al Jazeera English, and the weekly programme The Frost Interview from 2012. He received the BAFTA Fellowship from the British Academy of Film and Television Arts in 2005 and the Lifetime Achievement Award at the Emmy Awards in 2009. Frost died on 31 August 2013, aged 74, on board the cruise ship , where he had been engaged as a speaker. His memorial stone was unveiled in Poets' Corner of Westminster Abbey in March 2014. Early life David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally – while residing in Raunds, Northamptonshire – Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C. For two years before going to university he was a lay preacher, following his witnessing of an event presided over by Christian evangelist Billy Graham. Frost studied at Gonville and Caius College, Cambridge, from 1958, graduating with a Third in English. He was editor of both the university's student paper, Varsity, and the literary magazine Granta. He was also secretary of the Footlights Drama Society, which included actors such as Peter Cook and John Bird. During this period Frost appeared on television for the first time in an edition of Anglia Television's Town And Gown, performing several comic characters. "The first time I stepped into a television studio", he once remembered, "it felt like home. It didn't scare me. Talking to the camera seemed the most natural thing in the world." According to some accounts, Frost was the victim of snobbery from the group with which he associated at Cambridge, which has been confirmed by Barry Humphries. Christopher Booker, while asserting that Frost's one defining characteristic was ambition, commented that he was impossible to dislike. According to satirist John Wells, Old Etonian actor Jonathan Cecil congratulated Frost around this time for "that wonderfully silly voice" he used while performing, but then discovered that it was Frost's real voice. After leaving university, Frost became a trainee at Associated-Rediffusion. Meanwhile, having already gained an agent, Frost performed in cabaret at the Blue Angel nightclub in Berkeley Square, London during the evenings. That Was the Week That Was Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, or TW3, after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962–63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the U.S. during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York City production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. After TW3 Frost fronted various programmes following the success of TW3, including its immediate successor, Not So Much a Programme, More a Way of Life, which he co-chaired with Willie Rushton and poet P. J. Kavanagh. Screened on three evenings each week, this series was dropped after a sketch was found to be offensive to Catholics and another to the British royal family. More successful was The Frost Report, broadcast between 1966 and 1967. The show launched the television careers of John Cleese, Ronnie Barker, and Ronnie Corbett, who appeared together in the Class sketch. Frost signed for Rediffusion, the ITV weekday contractor in London, to produce a "heavier" interview-based show called The Frost Programme. Guests included Oswald Mosley and Rhodesian premier Ian Smith. His memorable dressing-down of insurance fraudster Emil Savundra, regarded as the first example of "trial by television" in the UK, led to concern from ITV executives that it might affect Savundra's right to a fair trial. Frost's introductory words for his television programmes during this period, "Hello, good evening and welcome", became his catchphrase and were often mimicked. Frost was a member of a successful consortium, including former executives from the BBC, that bid for an ITV franchise in 1967. This became London Weekend Television, which began broadcasting in July 1968. The station began with a programming policy that was considered "highbrow" and suffered launch problems with low audience ratings and financial problems. A September 1968 meeting of the Network Programme Committee, which made decisions about the channel's scheduling, was particularly fraught, with Lew Grade expressing hatred of Frost in his presence. Frost, according to Kitty Muggeridge in 1967, had "risen without a trace." He was involved in the station's early years as a presenter. On 20 and 21 July 1969, during the British television Apollo 11 coverage, he presented David Frost's Moon Party for LWT, a ten-hour discussion and entertainment marathon from LWT's Wembley Studios, on the night Neil Armstrong walked on the moon. Two of his guests on this programme were British historian A. J. P. Taylor and entertainer Sammy Davis, Jr. Around this time Frost interviewed Rupert Murdoch whose recently acquired Sunday newspaper, the News of the World, had just serialised the memoirs of Christine Keeler, a central figure in the Profumo scandal of 1963. For the Australian publisher, this was a bruising encounter, although Frost said that he had not intended it to be. Murdoch confessed to his biographer Michael Wolff that the incident had convinced him that Frost was "an arrogant bastard, [and] a bloody bugger". In the late 1960s Frost began an intermittent involvement in the film industry. Setting up David Paradine Ltd in 1966, he part-financed The Rise and Rise of Michael Rimmer (1970), in which the lead character was based partly on Frost, and gained an executive producer credit. In 1976, Frost was the executive producer of the British musical film The Slipper and the Rose, retelling the story of Cinderella. Frost was the subject of This Is Your Life in January 1972 when he was surprised by Eamonn Andrews at London's Quaglino's restaurant. American career from 1968 to 1980 In 1968, he signed a contract worth £125,000 to appear on American television in his own show on three evenings each week, the largest such arrangement for a British television personality at the time. From 1969 to 1972, Frost kept his London shows and fronted The David Frost Show on the Group W (U.S. Westinghouse Corporation) television stations in the U.S. His 1970 TV special, Frost on America, featured guests such as Jack Benny and Tennessee Williams. In a declassified transcript of a 1972 telephone call between Frost and Henry Kissinger, President Nixon's national security advisor and secretary of state, Frost urged Kissinger to call chess Grandmaster Bobby Fischer and urge him to compete in that year's World Chess Championship. During this call, Frost revealed that he was working on a novel. Frost interviewed heavyweight boxer Muhammad Ali in 1974 at his training camp in Deer Lake, Pennsylvania before "The Rumble in the Jungle" with George Foreman. Ali remarked, "Listen David, when I meet this man, if you think the world was surprised when Nixon resigned, wait till I whip Foreman's behind." In 1977, the Nixon Interviews, which were five 90-minute interviews with former U.S. President Richard Nixon, were broadcast. Nixon was paid $600,000 plus a share of the profits for the interviews, which had to be funded by Frost himself after the U.S. television networks turned down the programme, describing it as "checkbook journalism". Frost's company negotiated its own deals to syndicate the interviews with local stations across the U.S. and internationally, creating what Ron Howard described as "the first fourth network". Frost taped around 29 hours of interviews with Nixon over four weeks. Nixon, who had previously avoided discussing his role in the Watergate scandal that had led to his resignation as president in 1974, expressed contrition saying, "I let the American people down and I have to carry that burden with me for the rest of my life". Frost asked Nixon whether the president could do something illegal in certain situations such as against antiwar groups and others if he decides "it's in the best interests of the nation or something". Nixon replied: "Well, when the president does it, that means that it is not illegal", by definition. Following the 1979 Iranian Revolution, Frost was the last person to interview Mohammad Reza Pahlavi, the deposed Shah of Iran. The interview took place on Contadora Island in Panama in January 1980, and was broadcast by the American Broadcasting Company in the U.S. on 17 January. The Shah talks about his wealth, his illness, the SAVAK, the torture during his reign, Khomeini, his threat of extradition to Iran and draws a summary of the current situation in Iran. Frost was an organiser of the Music for UNICEF Concert at the United Nations General Assembly in 1979. Ten years later, he was hired as the anchor of new American tabloid news program Inside Edition. He was dismissed after only three weeks because of poor ratings. It seems he was "considered too high-brow for the show's low-brow format." After 1980 Frost was one of the "Famous Five" who launched TV-am in February 1983; however, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster, Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. Achievements Frost was the only person to have interviewed all eight British prime ministers serving between 1964 and 2016 (Harold Wilson, Edward Heath, James Callaghan, Margaret Thatcher, John Major, Tony Blair, Gordon Brown, and David Cameron) and all seven U.S. presidents in office between 1969 and 2008 (Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush). He was a patron and former vice-president of the Motor Neurone Disease Association charity, as well as being a patron of the Alzheimer's Research Trust, Hearing Star Benevolent Fund, East Anglia's Children's Hospices, the Home Farm Trust and the Elton John AIDS Foundation. He was also recognized for his contributions to the women's charity "Wellbeing for Women". After having been in television for 40 years, Frost was estimated to be worth £200 million by the Sunday Times Rich List in 2006, a figure he considered a significant overestimate in 2011. The valuation included the assets of his main British company and subsidiaries, plus homes in London and the country. Frost/Nixon Frost/Nixon was originally a play written by Peter Morgan, developed from the interviews that Frost had conducted with Richard Nixon in 1977. Frost/Nixon was presented as a stage production in London in 2006 and on Broadway in 2007. Frank Langella won a Leading Actor Tony Award for his portrayal of Nixon; the play also received nominations for Best Play and Best Direction. The play was adapted into a Hollywood motion picture entitled Frost/Nixon and starring Michael Sheen as Frost and Langella as Nixon, both reprising their stage roles. The film was released in 2008 and directed by Ron Howard. It was nominated for five Golden Globe Awards, winning none: Best Motion Picture-Drama, Best Director-Drama, Best Actor-Drama (Langella), Best Screenplay, and Best Original Score. It was also nominated for five Academy Awards, again winning none: Best Picture, Best Actor (Langella), Best Director, Best Adapted Screenplay, and Best Film Editing. In February 2009, Frost was featured on the Australian Broadcasting Corporation's international affairs programme Foreign Correspondent in a report titled "The World According To Frost", reflecting on his long career and portrayal in the film Frost/Nixon. Personal life Frost was known for several relationships with high-profile women. In the mid-1960s, he dated British actress Janette Scott, between her marriages to songwriter Jackie Rae and singer Mel Tormé; in the early 1970s he was engaged to American actress Diahann Carroll; between 1972 and 1977 he had a relationship with British socialite Caroline Cushing; in 1981, he married Lynne Frederick, widow of Peter Sellers, but they divorced the following year. He also had an 18-year intermittent affair with American actress Carol Lynley. On 19 March 1983, Frost married Lady Carina Fitzalan-Howard, daughter of the 17th Duke of Norfolk. Three sons were born to the couple over the next five years. His second son, Wilfred Frost, followed in his father's footsteps and currently works as an anchor at CNBC. They lived for many years in Chelsea, London, and kept a weekend home at Michelmersh Court in Hampshire. Death On 31 August 2013, Frost was aboard the Cunard cruise ship when he died of a heart attack at the age of 74. Cunard said that the vessel had left Southampton for a ten-day cruise in the Mediterranean, ending in Rome. A post-mortem found that Frost had hypertrophic cardiomyopathy. Frost's son, Miles, died from the same condition at the age of 31 in 2015. A funeral service was held at Holy Trinity Church in Nuffield, Oxfordshire, on 12 September 2013, after which he was interred in the church's graveyard. On 13 March 2014, a memorial service was held at Westminster Abbey, at which Frost was honoured with a memorial stone in Poets' Corner. Tributes British Prime Minister David Cameron paid tribute, saying: "He could be—and certainly was with me—both a friend and a fearsome interviewer." Michael Grade commented: "He was kind of a television renaissance man. He could put his hand to anything. He could turn over Richard Nixon or he could win the comedy prize at the Montreux Golden Rose festival." Selected awards and honours 1970: Officer of the Order of the British Empire (OBE) 1970: Honorary Doctor of Laws degree of Emerson College 1993: Knight Bachelor 1994: Honorary doctoral degree of the University of Sussex 2000: Golden Plate Award of the American Academy of Achievement 2005: Fellowship of the British Academy of Film and Television Arts BAFTA 2009: Honorary Doctor of Letters degree of the University of Winchester 2009: Lifetime Achievement Award at the Emmy Awards Bibliography Non-fiction How to Live Under Labour – or at Least Have as Much Chance as Anyone Else (1964) To England with Love (1968). With Antony Jay. The Presidential Debate, 1968: David Frost talks with Vice-President Hubert H. Humphrey (and others) (1968). The Americans (1970) Billy Graham Talks with David Frost (1972) Whitlam and Frost: The Full Text of Their TV Conversations Plus Exclusive New Interviews (1974) "I Gave Them a Sword": Behind the Scenes of the Nixon Interviews (1978). Reissued as Frost/Nixon in 2007. David Frost's Book of Millionaires, Multimillionaires, and Really Rich People (1984) The World's Shortest Books (1987) An Autobiography. Part 1: From Congregations to Audiences (1993) With Michael Deakin and illustrated by Willie Rushton I Could Have Kicked Myself: David Frost's Book of the World's Worst Decisions (1982) Who Wants to Be a Millionaire? (1983) If You'll Believe That (1986) With Michael Shea The Mid-Atlantic Companion, or, How to Misunderstand Americans as Much as They Misunderstand Us (1986) The Rich Tide: Men, Women, Ideas and Their Transatlantic Impact (1986) References External links BBC News Profile of David Frost TV Cream on David Frost TV Cream on Paradine Productions 1939 births 2013 deaths Al Jazeera people Alumni of Gonville and Caius College, Cambridge BAFTA fellows BBC newsreaders and journalists British broadcast news analysts British reporters and correspondents British television producers English comedians English game show hosts English memoirists English Methodists English satirists English social commentators English political writers English television personalities English television talk show hosts International Emmy Founders Award winners Knights Bachelor Officers of the Order of the British Empire People educated at Gillingham Grammar School, Kent People educated at St Hugh's School, Woodhall Spa People from Raunds People from Tenterden People from Test Valley People from Wellingborough People who died at sea Primetime Emmy Award winners 20th-century British businesspeople	true	[ "Villains by Necessity is a fantasy novel written by Eve Forward.\n\nSynopsis\n\nOver a century after the ultimate triumph of good over evil, the world's last assassin and the world's last thief discover from a druid that, without more evil, the world will be destroyed. With the help of an evil sorceress and a black knight, the party sets out to save it from the misguided forces of good.\n\nReception\n\nKirkus Reviews called it \"frothy and ingenious\", and praised its \"agreeable, mildly humorous streak\", but ultimately judged it \"unsuspenseful and too long\". At the Silver Reviews, Steven H Silver considered it to have been \"ambitious\", but too reminiscent of a Dungeons & Dragons campaign, with \"anachronistic\" humor, and evil characters whose evilness lacks \"any real depth\".\n\nReferences\n\nSee also\n List of fantasy novels\n\n1995 American novels\nAmerican fantasy novels\nTor Books books\n1995 debut novels", "Spartan Gold is the first in the \"Fargo series\" of adventure novels by Clive Cussler, co-authored by Grant Blackwood. The two main characters of the Fargo novels are adventurers and treasure hunters Sam Fargo and his wife, Remi. The book's hardcover edition was first published September 1, 2009. The Paperback version was released on August 31, 2010. Other editions of this novel were released on various dates after the hardcover edition's debut.\n\nPlot\nClive Cussler introduces a new team of adventurers with this book, the Fargos, who have a knack for stumbling into the plots of evil egomaniacs. This adventure starts when they stumble across a one-man World War II German midget submarine, which is still intact. Inside, they find a bottle that they discover came from Napoleon's \"lost wine cellar.\" Immediately, representatives of power-hungry millionaire Hadeon Bondaruk attempts to get the bottle at any cost. They begin a quest to discover why this bottle so important that Bondaruk is willing to kill to get it. This adventure takes the Fargos to the Bahamas and over much of Europe before they discover Bondaruk's evil plans for regional domination.\n\nCo-author Clive Cussler has a habit of making cameo appearances in many of his novels. In this one he makes a brief appearance when the Fargos are hunting for one of Napoleon's wine bottles on Rum Cay, in the Bahamas.\n\nReviews\nThe Amazon.com website, as of October 2015, had 322 customer reviews of Spartan Gold and the reviewers gave the book an average of three stars out of five stars. The Good Reads website as of the same date had 501 reviews of the book. Reviewers gave it an average of 3.8 stars of five possible stars. The Barns & Noble website as of the same date had 298 reviews of the book. Reviewers gave it an average of 3.7 stars of five possible stars.\n\nReferences\n\n2009 American novels\nFargo Adventures\nG. P. Putnam's Sons books\nCollaborative novels" ]
[ "David Frost", "After 1980", "What was going on after 1980?", "Frost was one of the \"Famous Five\" who launched TV-am", "What was TV-am?", "the station began with an unsustainable \"highbrow\" approach. Frost remained a presenter after restructuring.", "Who else was a famous five member?", "Richard Branson and other interests,", "Were there other shows?", "his Sunday morning interview programme Breakfast", "How did it do?", "Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1.", "Are there any other interesting aspects about this article?", "Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World,", "Did Over the World get good reviews?", "Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri." ]	C_217351d2fd5a4a9bb19386d270564876_0	So it was a news show?	8	So Over the World by Frost was a news show?	David Frost	Frost was one of the "Famous Five" who launched TV-am in February 1983 but, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. CANNOTANSWER	The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan,	Sir David Paradine Frost (7 April 1939 – 31 August 2013) was a British television host, journalist, comedian and writer. He rose to prominence during the satire boom in the United Kingdom when he was chosen to host the satirical programme That Was the Week That Was in 1962. His success on this show led to work as a host on American television. He became known for his television interviews with senior political figures, among them the Nixon interviews with President Richard Nixon in 1977 which were adapted into a stage play and film. Frost interviewed all eight British prime ministers serving between 1964 and 2016 and all seven American presidents in office between 1969 and 2008. He was one of the people behind the launch of ITV station TV-am in 1983. He was the inaugural host of the US newsmagazine programme Inside Edition. He hosted the Sunday morning interview programme Breakfast with Frost for the BBC from 1993 to 2005, and spent two decades as host of Through the Keyhole. From 2006 to 2012, he hosted the weekly programme Frost Over the World on Al Jazeera English, and the weekly programme The Frost Interview from 2012. He received the BAFTA Fellowship from the British Academy of Film and Television Arts in 2005 and the Lifetime Achievement Award at the Emmy Awards in 2009. Frost died on 31 August 2013, aged 74, on board the cruise ship , where he had been engaged as a speaker. His memorial stone was unveiled in Poets' Corner of Westminster Abbey in March 2014. Early life David Paradine Frost was born in Tenterden, Kent, on 7 April 1939, the son of a Methodist minister of Huguenot descent, the Rev. Wilfred John "W. J." Paradine Frost, and his wife, Mona (Aldrich); he had two elder sisters. While living in Gillingham, Kent, he was taught in the Bible class of the Sunday school at his father's church (Byron Road Methodist) by David Gilmore Harvey, and subsequently started training as a Methodist local preacher, which he did not complete. Frost attended Barnsole Road Primary School in Gillingham, St Hugh's School, Woodhall Spa, Gillingham Grammar School and finally – while residing in Raunds, Northamptonshire – Wellingborough Grammar School. Throughout his school years he was an avid football and cricket player, and was offered a contract with Nottingham Forest F.C. For two years before going to university he was a lay preacher, following his witnessing of an event presided over by Christian evangelist Billy Graham. Frost studied at Gonville and Caius College, Cambridge, from 1958, graduating with a Third in English. He was editor of both the university's student paper, Varsity, and the literary magazine Granta. He was also secretary of the Footlights Drama Society, which included actors such as Peter Cook and John Bird. During this period Frost appeared on television for the first time in an edition of Anglia Television's Town And Gown, performing several comic characters. "The first time I stepped into a television studio", he once remembered, "it felt like home. It didn't scare me. Talking to the camera seemed the most natural thing in the world." According to some accounts, Frost was the victim of snobbery from the group with which he associated at Cambridge, which has been confirmed by Barry Humphries. Christopher Booker, while asserting that Frost's one defining characteristic was ambition, commented that he was impossible to dislike. According to satirist John Wells, Old Etonian actor Jonathan Cecil congratulated Frost around this time for "that wonderfully silly voice" he used while performing, but then discovered that it was Frost's real voice. After leaving university, Frost became a trainee at Associated-Rediffusion. Meanwhile, having already gained an agent, Frost performed in cabaret at the Blue Angel nightclub in Berkeley Square, London during the evenings. That Was the Week That Was Frost was chosen by writer and producer Ned Sherrin to host the satirical programme That Was the Week That Was, or TW3, after Frost's flatmate John Bird suggested Sherrin should see his act at The Blue Angel. The series, which ran for less than 18 months during 1962–63, was part of the satire boom in early 1960s Britain and became a popular programme. The involvement of Frost in TW3 led to an intensification of the rivalry with Peter Cook who accused him of stealing material and dubbed Frost "the bubonic plagiarist". The new satirical magazine Private Eye also mocked him at this time. Frost visited the U.S. during the break between the two series of TW3 in the summer of 1963 and stayed with the producer of the New York City production of Beyond The Fringe. Frost was unable to swim, but still jumped into the pool, and nearly drowned until he was saved by Peter Cook. At the memorial service for Cook in 1995, Alan Bennett recalled that rescuing Frost was the one regret Cook frequently expressed. For the first three editions of the second series in 1963, the BBC attempted to limit the team by scheduling repeats of The Third Man television series after the programme, thus preventing overruns. Frost took to reading synopses of the episodes at the end of the programme as a means of sabotage. After the BBC's Director General Hugh Greene instructed that the repeats should be abandoned, TW3 returned to being open-ended. More sombrely, on 23 November 1963, a tribute to the assassinated President John F. Kennedy, an event which had occurred the previous day, formed an entire edition of That Was the Week That Was. An American version of TW3 ran after the original British series had ended. Following a pilot episode on 10 November 1963, the 30-minute US series, also featuring Frost, ran on NBC from 10 January 1964 to May 1965. In 1985, Frost produced and hosted a television special in the same format, That Was the Year That Was, on NBC. After TW3 Frost fronted various programmes following the success of TW3, including its immediate successor, Not So Much a Programme, More a Way of Life, which he co-chaired with Willie Rushton and poet P. J. Kavanagh. Screened on three evenings each week, this series was dropped after a sketch was found to be offensive to Catholics and another to the British royal family. More successful was The Frost Report, broadcast between 1966 and 1967. The show launched the television careers of John Cleese, Ronnie Barker, and Ronnie Corbett, who appeared together in the Class sketch. Frost signed for Rediffusion, the ITV weekday contractor in London, to produce a "heavier" interview-based show called The Frost Programme. Guests included Oswald Mosley and Rhodesian premier Ian Smith. His memorable dressing-down of insurance fraudster Emil Savundra, regarded as the first example of "trial by television" in the UK, led to concern from ITV executives that it might affect Savundra's right to a fair trial. Frost's introductory words for his television programmes during this period, "Hello, good evening and welcome", became his catchphrase and were often mimicked. Frost was a member of a successful consortium, including former executives from the BBC, that bid for an ITV franchise in 1967. This became London Weekend Television, which began broadcasting in July 1968. The station began with a programming policy that was considered "highbrow" and suffered launch problems with low audience ratings and financial problems. A September 1968 meeting of the Network Programme Committee, which made decisions about the channel's scheduling, was particularly fraught, with Lew Grade expressing hatred of Frost in his presence. Frost, according to Kitty Muggeridge in 1967, had "risen without a trace." He was involved in the station's early years as a presenter. On 20 and 21 July 1969, during the British television Apollo 11 coverage, he presented David Frost's Moon Party for LWT, a ten-hour discussion and entertainment marathon from LWT's Wembley Studios, on the night Neil Armstrong walked on the moon. Two of his guests on this programme were British historian A. J. P. Taylor and entertainer Sammy Davis, Jr. Around this time Frost interviewed Rupert Murdoch whose recently acquired Sunday newspaper, the News of the World, had just serialised the memoirs of Christine Keeler, a central figure in the Profumo scandal of 1963. For the Australian publisher, this was a bruising encounter, although Frost said that he had not intended it to be. Murdoch confessed to his biographer Michael Wolff that the incident had convinced him that Frost was "an arrogant bastard, [and] a bloody bugger". In the late 1960s Frost began an intermittent involvement in the film industry. Setting up David Paradine Ltd in 1966, he part-financed The Rise and Rise of Michael Rimmer (1970), in which the lead character was based partly on Frost, and gained an executive producer credit. In 1976, Frost was the executive producer of the British musical film The Slipper and the Rose, retelling the story of Cinderella. Frost was the subject of This Is Your Life in January 1972 when he was surprised by Eamonn Andrews at London's Quaglino's restaurant. American career from 1968 to 1980 In 1968, he signed a contract worth £125,000 to appear on American television in his own show on three evenings each week, the largest such arrangement for a British television personality at the time. From 1969 to 1972, Frost kept his London shows and fronted The David Frost Show on the Group W (U.S. Westinghouse Corporation) television stations in the U.S. His 1970 TV special, Frost on America, featured guests such as Jack Benny and Tennessee Williams. In a declassified transcript of a 1972 telephone call between Frost and Henry Kissinger, President Nixon's national security advisor and secretary of state, Frost urged Kissinger to call chess Grandmaster Bobby Fischer and urge him to compete in that year's World Chess Championship. During this call, Frost revealed that he was working on a novel. Frost interviewed heavyweight boxer Muhammad Ali in 1974 at his training camp in Deer Lake, Pennsylvania before "The Rumble in the Jungle" with George Foreman. Ali remarked, "Listen David, when I meet this man, if you think the world was surprised when Nixon resigned, wait till I whip Foreman's behind." In 1977, the Nixon Interviews, which were five 90-minute interviews with former U.S. President Richard Nixon, were broadcast. Nixon was paid $600,000 plus a share of the profits for the interviews, which had to be funded by Frost himself after the U.S. television networks turned down the programme, describing it as "checkbook journalism". Frost's company negotiated its own deals to syndicate the interviews with local stations across the U.S. and internationally, creating what Ron Howard described as "the first fourth network". Frost taped around 29 hours of interviews with Nixon over four weeks. Nixon, who had previously avoided discussing his role in the Watergate scandal that had led to his resignation as president in 1974, expressed contrition saying, "I let the American people down and I have to carry that burden with me for the rest of my life". Frost asked Nixon whether the president could do something illegal in certain situations such as against antiwar groups and others if he decides "it's in the best interests of the nation or something". Nixon replied: "Well, when the president does it, that means that it is not illegal", by definition. Following the 1979 Iranian Revolution, Frost was the last person to interview Mohammad Reza Pahlavi, the deposed Shah of Iran. The interview took place on Contadora Island in Panama in January 1980, and was broadcast by the American Broadcasting Company in the U.S. on 17 January. The Shah talks about his wealth, his illness, the SAVAK, the torture during his reign, Khomeini, his threat of extradition to Iran and draws a summary of the current situation in Iran. Frost was an organiser of the Music for UNICEF Concert at the United Nations General Assembly in 1979. Ten years later, he was hired as the anchor of new American tabloid news program Inside Edition. He was dismissed after only three weeks because of poor ratings. It seems he was "considered too high-brow for the show's low-brow format." After 1980 Frost was one of the "Famous Five" who launched TV-am in February 1983; however, like LWT in the late 1960s, the station began with an unsustainable "highbrow" approach. Frost remained a presenter after restructuring. Frost on Sunday began in September 1983 and continued until the station lost its franchise at the end of 1992. Frost had been part of an unsuccessful consortium, CPV-TV, with Richard Branson and other interests, which had attempted to acquire three ITV contractor franchises prior to the changes made by the Independent Television Commission in 1991. After transferring from ITV, his Sunday morning interview programme Breakfast with Frost ran on the BBC from January 1993 until 29 May 2005. For a time it ran on BSB before moving to BBC 1. Frost hosted Through the Keyhole, which ran on several UK channels from 1987 until 2008 and also featured Loyd Grossman. Produced by his own production company, the programme was first shown in prime time and on daytime television in its later years. Frost worked for Al Jazeera English, presenting a live weekly hour-long current affairs programme, Frost Over The World, which started when the network launched in November 2006. The programme regularly made headlines with interviewees such as Tony Blair, President Omar al-Bashir of Sudan, Prime Minister Benazir Bhutto of Pakistan and President Daniel Ortega of Nicaragua. The programme was produced by the former Question Time editor and Independent on Sunday journalist Charlie Courtauld. Frost was one of the first to interview the man who authored the Fatwa on Terrorism, Muhammad Tahir-ul-Qadri. During his career as a broadcaster, Frost became one of Concorde's most frequent fliers, having flown between London and New York an average of 20 times per year for 20 years. In 2007, Frost hosted a discussion with Libya's leader Muammar Gaddafi as part of the Monitor Group's involvement in the country. In June 2010, Frost presented Frost on Satire, an hour-long BBC Four documentary looking at the history of television satire. Achievements Frost was the only person to have interviewed all eight British prime ministers serving between 1964 and 2016 (Harold Wilson, Edward Heath, James Callaghan, Margaret Thatcher, John Major, Tony Blair, Gordon Brown, and David Cameron) and all seven U.S. presidents in office between 1969 and 2008 (Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, George H. W. Bush, Bill Clinton, and George W. Bush). He was a patron and former vice-president of the Motor Neurone Disease Association charity, as well as being a patron of the Alzheimer's Research Trust, Hearing Star Benevolent Fund, East Anglia's Children's Hospices, the Home Farm Trust and the Elton John AIDS Foundation. He was also recognized for his contributions to the women's charity "Wellbeing for Women". After having been in television for 40 years, Frost was estimated to be worth £200 million by the Sunday Times Rich List in 2006, a figure he considered a significant overestimate in 2011. The valuation included the assets of his main British company and subsidiaries, plus homes in London and the country. Frost/Nixon Frost/Nixon was originally a play written by Peter Morgan, developed from the interviews that Frost had conducted with Richard Nixon in 1977. Frost/Nixon was presented as a stage production in London in 2006 and on Broadway in 2007. Frank Langella won a Leading Actor Tony Award for his portrayal of Nixon; the play also received nominations for Best Play and Best Direction. The play was adapted into a Hollywood motion picture entitled Frost/Nixon and starring Michael Sheen as Frost and Langella as Nixon, both reprising their stage roles. The film was released in 2008 and directed by Ron Howard. It was nominated for five Golden Globe Awards, winning none: Best Motion Picture-Drama, Best Director-Drama, Best Actor-Drama (Langella), Best Screenplay, and Best Original Score. It was also nominated for five Academy Awards, again winning none: Best Picture, Best Actor (Langella), Best Director, Best Adapted Screenplay, and Best Film Editing. In February 2009, Frost was featured on the Australian Broadcasting Corporation's international affairs programme Foreign Correspondent in a report titled "The World According To Frost", reflecting on his long career and portrayal in the film Frost/Nixon. Personal life Frost was known for several relationships with high-profile women. In the mid-1960s, he dated British actress Janette Scott, between her marriages to songwriter Jackie Rae and singer Mel Tormé; in the early 1970s he was engaged to American actress Diahann Carroll; between 1972 and 1977 he had a relationship with British socialite Caroline Cushing; in 1981, he married Lynne Frederick, widow of Peter Sellers, but they divorced the following year. He also had an 18-year intermittent affair with American actress Carol Lynley. On 19 March 1983, Frost married Lady Carina Fitzalan-Howard, daughter of the 17th Duke of Norfolk. Three sons were born to the couple over the next five years. His second son, Wilfred Frost, followed in his father's footsteps and currently works as an anchor at CNBC. They lived for many years in Chelsea, London, and kept a weekend home at Michelmersh Court in Hampshire. Death On 31 August 2013, Frost was aboard the Cunard cruise ship when he died of a heart attack at the age of 74. Cunard said that the vessel had left Southampton for a ten-day cruise in the Mediterranean, ending in Rome. A post-mortem found that Frost had hypertrophic cardiomyopathy. Frost's son, Miles, died from the same condition at the age of 31 in 2015. A funeral service was held at Holy Trinity Church in Nuffield, Oxfordshire, on 12 September 2013, after which he was interred in the church's graveyard. On 13 March 2014, a memorial service was held at Westminster Abbey, at which Frost was honoured with a memorial stone in Poets' Corner. Tributes British Prime Minister David Cameron paid tribute, saying: "He could be—and certainly was with me—both a friend and a fearsome interviewer." Michael Grade commented: "He was kind of a television renaissance man. He could put his hand to anything. He could turn over Richard Nixon or he could win the comedy prize at the Montreux Golden Rose festival." Selected awards and honours 1970: Officer of the Order of the British Empire (OBE) 1970: Honorary Doctor of Laws degree of Emerson College 1993: Knight Bachelor 1994: Honorary doctoral degree of the University of Sussex 2000: Golden Plate Award of the American Academy of Achievement 2005: Fellowship of the British Academy of Film and Television Arts BAFTA 2009: Honorary Doctor of Letters degree of the University of Winchester 2009: Lifetime Achievement Award at the Emmy Awards Bibliography Non-fiction How to Live Under Labour – or at Least Have as Much Chance as Anyone Else (1964) To England with Love (1968). With Antony Jay. The Presidential Debate, 1968: David Frost talks with Vice-President Hubert H. Humphrey (and others) (1968). The Americans (1970) Billy Graham Talks with David Frost (1972) Whitlam and Frost: The Full Text of Their TV Conversations Plus Exclusive New Interviews (1974) "I Gave Them a Sword": Behind the Scenes of the Nixon Interviews (1978). Reissued as Frost/Nixon in 2007. David Frost's Book of Millionaires, Multimillionaires, and Really Rich People (1984) The World's Shortest Books (1987) An Autobiography. Part 1: From Congregations to Audiences (1993) With Michael Deakin and illustrated by Willie Rushton I Could Have Kicked Myself: David Frost's Book of the World's Worst Decisions (1982) Who Wants to Be a Millionaire? (1983) If You'll Believe That (1986) With Michael Shea The Mid-Atlantic Companion, or, How to Misunderstand Americans as Much as They Misunderstand Us (1986) The Rich Tide: Men, Women, Ideas and Their Transatlantic Impact (1986) References External links BBC News Profile of David Frost TV Cream on David Frost TV Cream on Paradine Productions 1939 births 2013 deaths Al Jazeera people Alumni of Gonville and Caius College, Cambridge BAFTA fellows BBC newsreaders and journalists British broadcast news analysts British reporters and correspondents British television producers English comedians English game show hosts English memoirists English Methodists English satirists English social commentators English political writers English television personalities English television talk show hosts International Emmy Founders Award winners Knights Bachelor Officers of the Order of the British Empire People educated at Gillingham Grammar School, Kent People educated at St Hugh's School, Woodhall Spa People from Raunds People from Tenterden People from Test Valley People from Wellingborough People who died at sea Primetime Emmy Award winners 20th-century British businesspeople	true	[ "Baozou Big News Events () is a Chinese Internet talk-variety show program produced by Baozou. It covers the topics of news, literature, history, psychology, geography, politics, chemistry, biology and more. The Host wears a headgear with a comic face during the show, and uses humorous words to report ridiculous news events. The show became popular among Chinese Internet users, and has a young audience. It imitates the program style and title sequence of Russell Howard's Good News, a BBC comedy and topical news show.\n\nBaozou Big News Events reviews the news satirically, allowing the audience to reflect upon the said news events after having a laugh. It was also the first to organize the Red Nose Day in China, which has helped a lot of poor Chinese children.\n\nThis show has created many Internet buzzwords, which are widely used by Chinese Internet users. It has also derived a series of Internet shows, such as Baozou Kan Sha Pian (暴走看啥儿片)， Baozou Lu A Lu (暴走撸啊撸) and so on.\n\nHistory\nThe show has had 4 seasons so far. The first season started from March 29 to August 8, 2013, the second from December 20, 2013 to June 20, 2014, the third from June 27, 2014 to June 26, 2015, and the fourth released on July 10, 2015.\n\nDuring the first season, the show was short and only updated bi-weekly, lacking experience for watchers. Accepting viewer's criticisms, the director changed the show's style. The reporter, Wang Nima, began to report news standing instead of sitting and the production team also moved to a new shooting field. For the third season, the show's update cycle was abridged into weekly.\n\nIt was banned on 17 May 2018, along with other Baozou Comic products. The official reason was the programme has broken the Martyr Protection Law of China. The Chinese government reported that Baozou Big News's account released a 58 seconds video on Toutiao which was recognized to have made fun of Chinese martyrs. The video was a short period cut from the fourth season of the programme which was aimed at criticizing some awful advertisement. But from the little period, it looks like that the programme has teased the Chinese martyr — \"Dong Cunrui said: 'I am an eight points of youth, and this is my eight points of hamburger.'\" After that, Wang Nima made a sincere apologize to the public.\n\nReferences \n\nInternet memes introduced in 2013", "Mabat LaHadashot ( lit. A glance at the news, sometimes in short Mabat (Hebrew: מבט lit. view), was an Israeli flagship evening news program that aired continuously on the Israeli public channel from 1968 to May 9, 2017. It was Israel's first televised news program.\n\nMabat in television\nThe news program, which used to air daily on the public Channel 1, owned by the Israel Broadcasting Authority, had a broadcasting monopoly between 1968 and 1991.\n\nThe show summarizes the daily news events, through video news stories and in-studio news announcings. The characteristics of the show have evolved over the years, especially in light of the rise of the commercial channels. The main modifications can be observed in the number of story-items, that have grown over the years, and that are being more fast-told, in a way that more closely resembles a commercial channel.\n\nIn its first years as a monopoly news show, it included fewer story-items, and therefore was on a slower pace. Over the years, the story-items have grown, and thus also became shorter. The announcing form of the show have little to change over the years, and is still based on either one in-studio news presenter or an announcer, that occasionally interviews the experts in the field that is on the agenda of the daily news events. Alternately, over the years, the news show was presented by a male and female twosome.\n\nIsrael is known as a country where the news always matters. During the 1970s and '80s, just before the creation of the first commercial channel (Israeli Channel 2), the program was so popular that people avoided talking on the phone in its broadcasting time. Calling someone during the broadcast was considered to be informal.\n\nHaim Yavin is the most veteran and known presenter of Mabat LaHadashot. He presented the first edition of Mabat in 1968 (which was the first television news program aired in Israel), and remained on the show for over 40 years. In the years that the show was a monopoly news show. Due to his presentation of the news there, Yavin earned the nickname \"Mr. Television\".\n\nOver the course of the years, \"Mabat\" was coined as the name for the news division of Channel 1, although the Channel 1 news division also produces many other news items and shows, but it was only the prime time news show on that channel.\n\nIn June 2010, Mabat became the first Israeli news program to be broadcast in high definition (HD 1080i).\n\nMabat on radio\nMabat was also being simultaneously broadcast on Reshet Bet of Kol Yisrael radio.\n\nAfter years of being broadcast at 9 pm local time, it switched in May 2012 to 'shmoneh l'shmoneh' (eight minutes to eight).\n\nSee also\n Channel 1 (Israel)\n Haim Yavin\n\nReferences\n\nExternal links\n \n (archived)\n\nChannel 1 (Israel) original programming\nIsraeli television news shows\nFlagship evening news shows" ]
[ "Chesley Sullenberger", "Civil aviation career" ]	C_d59714f9d159469bb8f522196874a2e0_0	What kind of jobs did Sullenberger have in aviation?	1	What kind of jobs did Sullenberger do in aviation?	Chesley Sullenberger	Sullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an Airline Transport Pilot Certificate for single and multi-engine airplanes, and a Commercial Pilot Certificate rating in gliders, as well as a flight instructor certificate for airplanes (single, multi-engine, and instrument), and gliders. In total, he has more than 40 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability. He has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration Advisory Circular. He was instrumental in developing and implementing the Crew Resource Management course that is used by US Airways, and he has taught the course to hundreds of airline crew members. Working with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which "led to improved airline procedures and training for emergency evacuations of aircraft". Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis. Sullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association. He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007. CANNOTANSWER	founder and CEO of Safety Reliability Methods, Inc.		false	[ "Fly by Wire: The Geese, the Glide, the Miracle on the Hudson is a book written in 2009 by William Langewiesche about US Airways Flight 1549 with emphasis on the role played by the advanced fly-by-wire flight control system of the aircraft.\n\nThe following is an excerpt:\n\n...the NTSB ran a study of the choices available. A simulator was programmed to duplicate the circumstances of Sullenberger's bird strike...and four pilots were enlisted to fly a series of attempts on LaGuardia. In the setup there were two important differences from the actual flight. First, the starting point was the location of the bird strike itself, not the location where Sullenberger came out of his turn. Second, the pilots knew the game in advance. ... In every case where the pilots were allowed to respond immediately to the loss of thrust by making a quick turn back to the airport, every one of them was able to land safely. ... In recognition [of the need to account for reaction time] the NTSB then imposed a thirty-second delay before allowing the simulator pilots to fly their returns--and every one of them crashed.Sullenberger made the right decision. No matter what. ... Even if people had died because of landing in the Hudson. Going for Runway 13 [at LaGuardia] would have been a crapshoot in an environment of obstacle-strewn waters, where missing the runway by fifty feet is like missing it by a mile.\n\nExternal links\n\nAviation books\n2009 non-fiction books", "Jeffrey Bruce \"Jeff\" Skiles (born November 18, 1959) is an airline pilot for American Airlines. On January 15, 2009, he became globally known as co-pilot of US Airways Flight 1549, when he worked together with captain Chesley Sullenberger to land the aircraft on the Hudson River after the plane lost both of its engines. They were widely celebrated for landing the plane with no loss of life.\n\nSkiles was flying as a First Officer on flight 1549 due to a staff reduction at US Airways; he had usually flown as Captain prior to the staff reduction and had slightly more flight hours than Sullenberger (though Skiles was relatively new to flying the Airbus A320).\n\nBoth of Skiles' parents, James Skiles and Deloris McKenney, were pilots during his childhood, and he became a pilot himself when he was just sixteen years old. He first worked flying cargo airplanes, and then worked for Midstate Airlines from 1983 to 1986. At the time of the emergency landing he had been with US Airways for 23 years.\n\nAtul Gawande, author of The Checklist Manifesto, asserted that the successful emergency landing relied on the cooperation of Sullenberger and Skiles. Gawande's central premise is that even really experienced people in any field encounter rare events, and that successfully coping with the rare event requires first, the careful anticipation of future emergencies, and secondly, preparing a well thought-out list of steps to follow, in advance:\n\nIn his book, Gawande stated that, during an emergency, there are so many tasks to complete that the first officer is working at least as hard as the captain. Sullenberger had taken on the task of finding a safe place to land, and actually landing, leaving his experienced co-pilot Skiles the task of following the checklist to try to restart the jet engines. Gawande noted that Skiles was able to complete the checklist in the less than three-minute period between the bird strike and the landing, noting this was \"something investigators later testified to be \"very remarkable\" in the time frame he hadand something they found difficult to replicate in simulation.\"\n\nPBS interviewer Charlie Rose interviewed Skiles on February 10, 2009. During that interview Skiles predicted that Sullenberger would receive on-going attention, but his (Skiles') fifteen minutes of fame would end when he left Rose's studio. However, he has continued to be a well-known speaker on corporate organizational reform and crisis management.\n \nThe National Transportation Safety Board (NTSB) conducted a lengthy and extensive investigation of the accident culminating in their published report dated April 4, 2010 stating, “The National Transportation Safety Board determines that the probable cause of this accident was the ingestion of large birds into each engine, which resulted in an almost total loss of thrust in both engines and the subsequent ditching on the Hudson River.”\n\nAfter a formal review of their performance both Sullenberger and Skiles had their flight status restored, but Sullenberger retired in 2010. Sullenberger and Skiles flew together, on March 3, 2010, on a recreation of their original flight plan, on Sullenberger's last flight for US Airways. It was their second flight together, as the pair had never worked together before the famous flight.\n\nSkiles went on to become the Vice President of the Coalition of Airline Pilots Associations (CAPA) that represents the interests of 28,000 airline pilots in safety and security issues. In this role he was instrumental in the creation of the First Officer Qualification rule, which significantly increased the requirements for training and experience of First Officers on the flight deck of US registered airliners. Skiles joined with the Families of Continental Flight 3407 and the National Air Disaster Alliance to mold the creation of and ensure passage of the Airline Safety Act of 2010, which significantly improved safety in the US airline industry; since its passage, there has not been a single fatality in a US airline accident.\n\nIn September 2009, Skiles and Sullenberger became the honorary Co-Chairmen of the Experimental Aircraft Association (EAA)'s Young Eagles program, that utilizes EAA's nationwide network of local chapters to offer free airplane rides to young people and expose them to general aviation and careers in aviation. EAA volunteers have performed over 2.2 million flights since the program's inception.\n\nSkiles is a writer and since 2011 has published over 100 articles on safety and general interest aviation topics in nationally distributed magazines such as Sport Aviation, Flying, Air & Space, PilotMag, Midwest Flyer, Vintage Airplane, and the Physicians Executive Journal.\n\nIn the 2016 drama film Sully, directed by Clint Eastwood, Skiles is portrayed by Aaron Eckhart and Sullenberger by Tom Hanks.\n\n, Skiles was working for American Airlines, piloting Boeing 787 Dreamliners.\n\nReferences\n\n1959 births\nLiving people\nCommercial aviators\nAviators from Wisconsin\nPeople from Oregon, Wisconsin\nUS Airways Group\nAmerican Airlines people\nExperimental Aircraft Association", "Highest Duty: My Search for What Really Matters is a 2009 memoir written by Chesley Sullenberger and Jeffrey Zaslow (1958–2012) describing the events of US Airways Flight 1549. The New York Times bestselling autobiography of Capt. Chesley “Sully” Sullenberger—the pilot who landed a crippled airplane in New York's Hudson River, saving the lives of the 155 passengers and crew—discusses leadership, responsibility, and service, along with his life story.\n\nClint Eastwood directed a 2016 film adaptation called Sully that received positive reviews from critics.\n\nReferences\n\nUS Airways Group\nAirbus A320 family\nHudson River\nAutobiographies\nAviation books\nAutobiographies adapted into films\nWilliam Morrow and Company books\n2009 non-fiction books" ]
[ "Chesley Sullenberger", "Civil aviation career", "What kind of jobs did Sullenberger have in aviation?", "founder and CEO of Safety Reliability Methods, Inc." ]	C_d59714f9d159469bb8f522196874a2e0_0	When did Sullenberger found Safety Reliability Methods?	2	When did Sullenberger found Safety Reliability Methods?	Chesley Sullenberger	Sullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an Airline Transport Pilot Certificate for single and multi-engine airplanes, and a Commercial Pilot Certificate rating in gliders, as well as a flight instructor certificate for airplanes (single, multi-engine, and instrument), and gliders. In total, he has more than 40 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability. He has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration Advisory Circular. He was instrumental in developing and implementing the Crew Resource Management course that is used by US Airways, and he has taught the course to hundreds of airline crew members. Working with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which "led to improved airline procedures and training for emergency evacuations of aircraft". Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis. Sullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association. He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007. CANNOTANSWER	2007,		false	[ "Jeffrey Bruce \"Jeff\" Skiles (born November 18, 1959) is an airline pilot for American Airlines. On January 15, 2009, he became globally known as co-pilot of US Airways Flight 1549, when he worked together with captain Chesley Sullenberger to land the aircraft on the Hudson River after the plane lost both of its engines. They were widely celebrated for landing the plane with no loss of life.\n\nSkiles was flying as a First Officer on flight 1549 due to a staff reduction at US Airways; he had usually flown as Captain prior to the staff reduction and had slightly more flight hours than Sullenberger (though Skiles was relatively new to flying the Airbus A320).\n\nBoth of Skiles' parents, James Skiles and Deloris McKenney, were pilots during his childhood, and he became a pilot himself when he was just sixteen years old. He first worked flying cargo airplanes, and then worked for Midstate Airlines from 1983 to 1986. At the time of the emergency landing he had been with US Airways for 23 years.\n\nAtul Gawande, author of The Checklist Manifesto, asserted that the successful emergency landing relied on the cooperation of Sullenberger and Skiles. Gawande's central premise is that even really experienced people in any field encounter rare events, and that successfully coping with the rare event requires first, the careful anticipation of future emergencies, and secondly, preparing a well thought-out list of steps to follow, in advance:\n\nIn his book, Gawande stated that, during an emergency, there are so many tasks to complete that the first officer is working at least as hard as the captain. Sullenberger had taken on the task of finding a safe place to land, and actually landing, leaving his experienced co-pilot Skiles the task of following the checklist to try to restart the jet engines. Gawande noted that Skiles was able to complete the checklist in the less than three-minute period between the bird strike and the landing, noting this was \"something investigators later testified to be \"very remarkable\" in the time frame he hadand something they found difficult to replicate in simulation.\"\n\nPBS interviewer Charlie Rose interviewed Skiles on February 10, 2009. During that interview Skiles predicted that Sullenberger would receive on-going attention, but his (Skiles') fifteen minutes of fame would end when he left Rose's studio. However, he has continued to be a well-known speaker on corporate organizational reform and crisis management.\n \nThe National Transportation Safety Board (NTSB) conducted a lengthy and extensive investigation of the accident culminating in their published report dated April 4, 2010 stating, “The National Transportation Safety Board determines that the probable cause of this accident was the ingestion of large birds into each engine, which resulted in an almost total loss of thrust in both engines and the subsequent ditching on the Hudson River.”\n\nAfter a formal review of their performance both Sullenberger and Skiles had their flight status restored, but Sullenberger retired in 2010. Sullenberger and Skiles flew together, on March 3, 2010, on a recreation of their original flight plan, on Sullenberger's last flight for US Airways. It was their second flight together, as the pair had never worked together before the famous flight.\n\nSkiles went on to become the Vice President of the Coalition of Airline Pilots Associations (CAPA) that represents the interests of 28,000 airline pilots in safety and security issues. In this role he was instrumental in the creation of the First Officer Qualification rule, which significantly increased the requirements for training and experience of First Officers on the flight deck of US registered airliners. Skiles joined with the Families of Continental Flight 3407 and the National Air Disaster Alliance to mold the creation of and ensure passage of the Airline Safety Act of 2010, which significantly improved safety in the US airline industry; since its passage, there has not been a single fatality in a US airline accident.\n\nIn September 2009, Skiles and Sullenberger became the honorary Co-Chairmen of the Experimental Aircraft Association (EAA)'s Young Eagles program, that utilizes EAA's nationwide network of local chapters to offer free airplane rides to young people and expose them to general aviation and careers in aviation. EAA volunteers have performed over 2.2 million flights since the program's inception.\n\nSkiles is a writer and since 2011 has published over 100 articles on safety and general interest aviation topics in nationally distributed magazines such as Sport Aviation, Flying, Air & Space, PilotMag, Midwest Flyer, Vintage Airplane, and the Physicians Executive Journal.\n\nIn the 2016 drama film Sully, directed by Clint Eastwood, Skiles is portrayed by Aaron Eckhart and Sullenberger by Tom Hanks.\n\n, Skiles was working for American Airlines, piloting Boeing 787 Dreamliners.\n\nReferences\n\n1959 births\nLiving people\nCommercial aviators\nAviators from Wisconsin\nPeople from Oregon, Wisconsin\nUS Airways Group\nAmerican Airlines people\nExperimental Aircraft Association", "On January 15, 2009, US Airways Flight 1549, an Airbus A320 on a flight from New York City's LaGuardia Airport to Charlotte, North Carolina, struck a flock of birds shortly after take-off, losing all engine power. Unable to reach any airport for an emergency landing due to their low altitude, pilots Chesley \"Sully\" Sullenberger and Jeffrey Skiles glided the plane to a ditching in the Hudson River off Midtown Manhattan. All 155 people on board were rescued by nearby boats, with only a few serious injuries.\n\nThis water landing of a powerless jetliner with no deaths became known as the Miracle on the Hudson, and a National Transportation Safety Board official described it as \"the most successful ditching in aviation history\". The Board rejected the notion that the pilot could have avoided ditching by returning to LaGuardia or diverting to nearby Teterboro Airport.\n\nThe pilots and flight attendants were awarded the Master's Medal of the Guild of Air Pilots and Air Navigators in recognition of their \"heroic and unique aviation achievement\". It was dramatized in the 2016 film Sully, starring Tom Hanks as Sullenberger.\n\nBackground\n\nOn January 15, 2009, US Airways Flight 1549 with call sign 'Cactus 1549' was scheduled to fly from New York City's LaGuardia Airport (LGA) to Charlotte Douglas International Airport (CLT) in Charlotte, North Carolina, with direct onward service to Seattle–Tacoma International Airport.\nThe aircraft was an Airbus A320-214 powered by two GE Aviation/Snecma-designed CFM56-5B4/P turbofan engines.\n\nThe captain and pilot in command was 57-year-old Chesley 'Sully' Sullenberger, a former fighter pilot who had been an airline pilot since leaving the United States Air Force in 1980. At the time, he had logged 19,663 total flight hours, including 4,765 in an A320; he was also a glider pilot and expert on aviation safety. First officer Jeffrey Skiles, 49, had accrued 20,727 career flight hours with 37 in an A320, but this was his first A320 assignment as pilot flying. There were 150 passengers and three flight attendants on board.\n\nAccident\n\nTakeoff and bird strike\n\nThe flight was cleared for takeoff to the northeast from LaGuardia's Runway 4 at 3:24:56 pm Eastern Standard Time (20:24:56 UTC). With Skiles in control, the crew made its first report after becoming airborne at 3:25:51 as being at and climbing.\n\nThe weather at 2:51 p.m. was visibility with broken clouds at , wind from 290°; an hour later it was few clouds at , wind from 310°. At 3:26:37 Sullenberger remarked to Skiles: \"What a view of the Hudson today.\"\n\nAt 3:27:11 during climbout, the plane struck a flock of Canada geese at an altitude of about north-northwest of LaGuardia. The pilots' view was filled with the large birds; passengers and crew heard very loud bangs and saw flames from the engines, followed by silence and an odor of fuel.\n \nRealizing that both engines had shut down, Sullenberger took control while Skiles worked the checklist for engine restart. The aircraft slowed but continued to climb for a further 19 seconds, reaching about at an airspeed of about , then began a glide descent, accelerating to at 3:28:10 as it descended through .\n\nAt 3:27:33, Sullenberger radioed a mayday call to New York Terminal Radar Approach Control (TRACON): \"... this is Cactus fifteen thirty nine [siccorrect call sign was Cactus 1549], hit birds. We've lost thrust on both engines. We're turning back towards LaGuardia\". Air traffic controller Patrick Harten told LaGuardia's tower to hold all departures, and directed Sullenberger back to Runway 31. Sullenberger responded, \"Unable\".\n\nSullenberger asked controllers for landing options in New Jersey, mentioning Teterboro Airport. Permission was given for Teterboro's Runway 1, Sullenberger initially responded \"Yes\", but then: \"We can't do it ... We're gonna be in the Hudson\". The aircraft passed less than above the George Washington Bridge. Sullenberger commanded over the cabin address system to \"brace for impact\" and the flight attendants relayed the command to passengers. Meanwhile, air traffic controllers asked the Coast Guard to caution vessels in the Hudson and ask them to prepare to assist with rescue.\n\nDitching and evacuation\n\nAbout ninety seconds later, at 3:31 pm, the plane made an unpowered ditching, descending southwards at about into the middle of the North River section of the Hudson tidal estuary, at \t on the New York side of the state line, roughly opposite West 50th Street (near the Intrepid Sea, Air & Space Museum) in Manhattan and Port Imperial in Weehawken, New Jersey. Flight attendants compared the ditching to a \"hard landing\" with \"one impact, no bounce, then a gradual deceleration\". The ebb tide then began to take the plane southward.\n\nSullenberger opened the cockpit door and gave the order to evacuate. The crew began evacuating the passengers through the four overwing window exits and into an inflatable slide/raft deployed from the front right passenger door (the front left slide failed to operate, so the manual inflation handle was pulled). The evacuation was made more difficult by the fact that someone opened the rear left door, allowing more water to enter the plane; whether this was a flight attendant or a passenger is disputed. Water was also entering through a hole in the fuselage and through cargo doors that had come open, so as the water rose the attendant urged passengers to move forward by climbing over seats. One passenger was in a wheelchair. Finally, Sullenberger walked the cabin twice to confirm it was empty.\n\nThe air and water temperatures were about and , respectively. Some evacuees waited for rescue knee-deep in water on the partially submerged slides, some wearing life vests. Others stood on the wings or, fearing an explosion, swam away from the plane. One passenger, after helping with the evacuation, found the wing so crowded that he jumped into the river and swam to a boat.\n\nRescue\n\nSullenberger had deliberately ditched the airliner near boats in order to facilitate rescue. Two NY Waterway ferries arrived within minutes and began taking people aboard using a Jason's cradle; numerous other boats, including from the US Coast Guard, were quickly on scene as well. Sullenberger advised the ferry crews to rescue those on the wings first, as they were in more jeopardy than those on the slides, which detached to become life rafts. The last person was taken from the plane at 3:55 pm.\n\nAbout 140 New York City firefighters responded to nearby docks, as did police, helicopters, and various vessels and divers. Other agencies provided medical help on the Weehawken side of the river, where most passengers were taken.\n\nAftermath\n\nPassengers and crew sustained 95 minor and 5 serious injuries, including a deep laceration in the leg of one of the flight attendants. Seventy-eight people received medical treatment, mostly for minor injuries and hypothermia; twenty-four passengers and two rescuers were treated at hospitals, with two passengers kept overnight. One passenger now wears glasses because of eye damage from jet fuel. No pets were being carried on the flight.\n\nEach passenger later received a letter of apology, $5,000 in compensation for lost baggage (and $5,000 more if they could demonstrate larger losses), and refund of their ticket price. In May 2009, they received any belongings that had been recovered. Passengers also reported offers of $10,000 each in return for agreeing not to sue US Airways.\n\nMany passengers and rescuers later experienced post-traumatic stress symptoms such as sleeplessness, flashbacks, and panic attacks; some began an email support group. Patrick Harten, the controller who had worked the flight, said that \"the hardest, most traumatic part of the entire event was when it was over\", and that he was \"gripped by raw moments of shock and grief\".\n\nIn an effort to prevent similar accidents, officials captured and gassed 1,235 Canada geese at 17 locations across New York City in mid-2009 and coated 1,739 goose eggs with oil to smother the developing goslings.\nAs of 2017, 70,000 birds have been intentionally killed in NYC as a result of the Hudson ditching.\n\nN106US, the accident aircraft, was purchased by the Carolinas Aviation Museum in Charlotte, North Carolina, where it (and the plane's engines) were put on display.\n\nInvestigation\n\nThe partially submerged plane was towed downstream and moored to a pier near the World Financial Center in Lower Manhattan, roughly from the ditching location. On January 17 the aircraft was taken by barge to New Jersey. The left engine, which had been detached from the aircraft by the ditching, was recovered from the riverbed on January 23.\n\nThe initial National Transportation Safety Board (NTSB) evaluation that the plane had lost thrust after a bird strike was confirmed by analysis of the cockpit voice and flight data recorders.\n\nIt was found in the investigation that two days prior to the accident the aircraft had experienced a compressor stall on the right engine, but the engine had restarted and the flight completed. A faulty temperature sensor was found to be the cause of the compressor stall. This sensor had been replaced and the inspection also verified the engine had not been damaged in that incident.\n\nOn January 21, the NTSB found evidence of damage from a soft-body impact in the right engine along with organic debris including a feather. The left engine also evidenced soft body impact, with \"dents on both the spinner and inlet lip of the engine cowling. Five booster inlet guide vanes are fractured and eight outlet guide vanes are missing.\" Both engines, missing large portions of their housings, were sent to the manufacturer for examination. On January 31, the plane was moved to Kearny, New Jersey. The bird remains were later identified by DNA testing to be Canada geese, which typically weigh more than engines are designed to withstand ingesting.\n\nSince the plane had been assembled in France, the European Aviation Safety Agency (EASA; the European counterpart of the FAA) and the Bureau of Enquiry and Analysis for Civil Aviation Safety (BEA; the French counterpart of the NTSB) joined the investigation, with technical assistance from Airbus and GE Aviation/Snecma, respectively the manufacturers of the airframe and the engines.\n\nThe NTSB used flight simulators to test the possibility that the flight could have returned safely to LaGuardia or diverted to Teterboro; only seven of the thirteen simulated returns to La Guardia succeeded, and only one of the two to Teterboro. Furthermore, the NTSB report called these simulations unrealistic: \"The immediate turn made by the pilots during the simulations did not reflect or account for real-world considerations, such as the time delay required to recognize the bird strike and decide on a course of action.\" A further simulation, in which a 35-second delay was inserted to allow for those, crashed. In testimony before the NTSB, Sullenberger maintained that there had been no time to bring the plane to any airport and that attempting to do so would likely have killed those onboard and more on the ground.\n\nThe Board ultimately ruled that Sullenberger had made the correct decision, reasoning that the checklist for dual-engine failure is designed for higher altitudes when pilots have more time to deal with the situation, and that while simulations showed that the plane might have just barely made it back to LaGuardia, those scenarios assumed an instant decision to do so, with no time allowed for assessing the situation.\n\nOn May 4, 2010, the NTSB issued its final report, which identified the probable cause as \"the ingestion of large birds into each engine, which resulted in an almost total loss of thrust in both engines\". The final report credited the outcome to four factors: good decision-making and teamwork by the cockpit crew (including decisions to immediately turn on the APU and to ditch in the Hudson); that the A320 is certified for extended overwater operation (and hence carried life vests and additional raft/slides) even though not required for that route; the performance of the flight crew during the evacuation; and the proximity of working vessels to the ditching site. Contributing factors were good visibility and fast response times from the ferry operators and emergency responders. The report made 34 recommendations, including that engines be tested for resistance to bird strikes at low speeds; development of checklists for dual-engine failures at low altitude, and changes to checklist design in general \"to minimize the risk of flight crewmembers becoming stuck in an inappropriate checklist or portion of a checklist\"; improved pilot training for water landings; provision of life vests on all flights regardless of route, and changes to the locations of vests and other emergency equipment; research into improved wildlife management, and technical innovations on aircraft, to reduce bird strikes; research into possible changes in passenger brace positions; and research into \"methods of overcoming passengers' inattention\" during preflight safety briefings.\n\nAuthor and pilot William Langewiesche asserted that insufficient credit was given to the A320's fly-by-wire design, by which the pilot uses a side-stick to make control inputs to the flight control computers. The computers then impose adjustments and limits of their own to keep the plane stable, which the pilot cannot override even in an emergency. This design allowed the pilots of Flight 1549 to concentrate on engine restart and deciding the course, without the burden of manually adjusting the glidepath to reduce the plane's rate of descent. However, Sullenberger said that these computer-imposed limits also prevented him from achieving the optimal landing flare for the ditching, which would have softened the impact.\n\nCrew awards and honors\n\nAn NTSB board member called the ditching \"the most successful... in aviation history. These people knew what they were supposed to do and they did it and as a result, no lives were lost.\"\nNew York State Governor David Paterson called the incident \"a Miracle on the Hudson\". U.S. President George W. Bush said he was \"inspired by the skill and heroism of the flight crew,\" and praised the emergency responders and volunteers. President-elect Barack Obama said that everyone was proud of Sullenberger's \"heroic and graceful job in landing the damaged aircraft\". He thanked the crew, whom he invited to his inauguration five days later.\n\nThe Guild of Air Pilots and Air Navigators awarded the crew the rarely bestowed Master's Medal on January 22, 2009, for outstanding aviation achievement, at the discretion of the Master of the Guild. New York City Mayor Michael Bloomberg presented the crew with the Keys to the City, and Sullenberger with a replacement copy of a library book lost on the flight, Sidney Dekker's Just Culture: Balancing Safety and Accountability. Rescuers received Certificates of Honor.\n\nThe crew received a standing ovation at the Super Bowl XLIII on February 1, 2009, and Sullenberger threw the ceremonial first pitch of the 2009 Major League Baseball season for the San Francisco Giants. His Giants jersey was inscribed with the name \"Sully\" and the number 155the count of people aboard the plane.\n\nOn July 28, passengers Dave Sanderson and Barry Leonard organized a thank-you luncheon for emergency responders from Hudson County, New Jersey, on the shores of Palisades Medical Center in North Bergen, New Jersey, where 57 passengers had been brought following their rescue. Present were members of the U.S. Coast Guard, North Hudson Regional Fire and Rescue, NY Waterway Ferries, the American Red Cross, Weehawken Volunteer First Aid, the Weehawken Police Department, West New York E.M.S., North Bergen E.M.S., the Hudson County Office of Emergency Management, the New Jersey E.M.S. Task Force, the Guttenberg Police Department, McCabe Ambulance, the Harrison Police Department, and doctors and nurses who treated survivors.\n\nSullenberger was named Grand Marshal for the 2010 Tournament of Roses Parade in Pasadena, California.\n\nIn August 2010, aeronautical chart publisher Jeppesen issued a humorous approach plate titled \"Hudson Miracle APCH,\" dedicated to the five crew of Flight 1549 and annotated \"Presented with Pride and Gratitude from your friends at Jeppesen\".\n\nSullenberger retired on March 3, 2010, after thirty years with US Airways and its predecessor, Pacific Southwest Airlines. At the end of his final flight he was reunited with Skiles and a number of the passengers from Flight 1549.\n\nIn 2013, the entire crew was inducted into the International Air & Space Hall of Fame at the San Diego Air & Space Museum.\n\nMedia\n\nSullenberger's 2009 memoir, Highest Duty: My Search for What Really Matters, was adapted into the feature film Sully, directed by Clint Eastwood. It starred Tom Hanks as Sullenberger and Aaron Eckhart as co-pilot Jeff Skiles. It was released by Warner Bros. on September 9, 2016.\n\nSee also \n List of airline flights that required gliding\n Aeroflot Flight 366, 21 August 1963, another aviation accident involving a ditching into a river\n Ural Airlines Flight 178\n2009 Makhachkala Il-76 collision, 15 January 2009, another accident which occurred in the same date\n\nNotes\n\nReferences\n\nExternal links\n\nNational Transportation Safety Board \nAccident Report\nInvestigation docket\n\nOther links\n\n Twitter Moment - Sullenberger's recollections, ten years on\n\nAccidents and incidents involving the Airbus A320\nAirliner accidents and incidents caused by bird strikes\nAirliner accidents and incidents in New Jersey\nAirliner accidents and incidents in New York City\nAirliner accidents and incidents involving ditching\nAviation accidents and incidents in the United States in 2009\nAviation accidents and incidents in 2009\nHudson River\n1549\n2009 in New Jersey\n2009 in New York (state)\nArticles containing video clips\nJanuary 2009 events in the United States\nWeehawken, New Jersey", "The first-order reliability method, (FORM), is a semi-probabilistic reliability analysis method devised to evaluate the reliability of a system. The accuracy of the method can be improved by averaging over many samples, which is known as Line Sampling.\n\nThe method is also known as the Hasofer-Lind Reliability Index, developed by Professor Michael Hasofer and Professor Neil Lind in 1974. The index has been recognized as an important step towards the development of contemporary methods to effectively and accurately estimate structural safety.\n\nThe analysis method depends on a \"Most Probable Point\" on the limit state\n\nSee also \n EN 1990\n Stress–strength analysis\n\nReferences\n\nProbabilistic models\nReliability engineering" ]
[ "Chesley Sullenberger", "Civil aviation career", "What kind of jobs did Sullenberger have in aviation?", "founder and CEO of Safety Reliability Methods, Inc.", "When did Sullenberger found Safety Reliability Methods?", "2007," ]	C_d59714f9d159469bb8f522196874a2e0_0	What kind of company was Safety Reliability Methods?	3	What kind of company was Safety Reliability Methods?	Chesley Sullenberger	Sullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an Airline Transport Pilot Certificate for single and multi-engine airplanes, and a Commercial Pilot Certificate rating in gliders, as well as a flight instructor certificate for airplanes (single, multi-engine, and instrument), and gliders. In total, he has more than 40 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability. He has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration Advisory Circular. He was instrumental in developing and implementing the Crew Resource Management course that is used by US Airways, and he has taught the course to hundreds of airline crew members. Working with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which "led to improved airline procedures and training for emergency evacuations of aircraft". Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis. Sullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association. He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007. CANNOTANSWER	firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability.		false	[ "Henrik Overgaard Madsen (born 27 July 1953) is a businessperson, engineer, Member of the Board of Aker Solutions and was chief executive officer of DNV GL between 2006 and 2015.\n\nMadsen is educated with a PhD in civil and structural engineering from the Technical University of Denmark, where he also held a position as professor within structural mechanics. He started working for DNV as chief scientist in structural reliability analysis, working to introduce structural reliability methods in the standard setting work of the oil and gas industry. He was elected into the United States Offshore Energy Center Technology Hall of Fame as an offshore pioneer in 2002. He has published several books and more than 80 papers within this area.\n\nFor DNV, Madsen has headed the maritime, energy and industry, and research business areas, as well as being regional manager in Japan and Denmark. He is also a member of the World Business Council for Sustainable Development.\n\nIn June 2015, Madsen has been appointed by the United Nations Secretary-General Ban Ki-moon as a new board member of the UN Global Compact.\n\nIn June 2019, Ivaldi Group, a 3D printing company specialized in on demand superior producer, has appointed Madsen to its advisory board.\n\nPublications \n\n Methods of Structural Safety (1985) \n Structural Reliability Methods (1996)\n Proposal for a Code for the Direct Use of Reliability Methods in Structural Design (1989)\n\nReferences\n\n1953 births\nLiving people\nDanish businesspeople\nDanish engineers", "European Safety and Reliability Association (ESRA), according to its charter, \"is a non-profit international association for the advance and application of safety and reliability technology in all areas of human endeavour. It is an \"umbrella\" organisation with a membership consisting of: national professional societies, industrial organisations and higher education institutions. The common interest is safety and reliability.\" Its members include various professional associations, companies and educational and research institutions in 22 countries, including the Safety and Reliability Society in the UK, as well as 7 national chapters (for countries with at least 5 direct members). It was launched as a permanent entity in 1986.\n\nESRA supports the Reliability Engineering and System Safety Journal published by Elsevier. It also sponsors other publications, including newsletters, monographs, conference proceedings and technical documentation. It also endorses the International Journal of Quality & Reliability Management.\n\nESREL is a generic name of annual conferences held by ESRA since 1992.\n\nThe September ESREL conference plans to discuss the merger of the ESRA and Society of Risk Analysis-Europe.\n\nReferences\n\nSafety organizations\nPan-European trade and professional organizations\nElsevier academic journals", "A critical system is a system which must be highly reliable and retain this reliability as they evolve without incurring prohibitive costs.\n\nThere are four types of critical systems: safety critical, mission critical, business critical and security critical.\n\nGeneral description\n\nFor such systems, trusted methods and techniques must be used for development. Consequently, critical systems are usually developed using well-tested techniques rather than newer techniques that have not been subject to extensive practical experience. Developers of critical systems are naturally conservative, preferring to use older techniques whose strengths and weaknesses are understood, rather than new techniques which may appear to be better, but whose long-term problems are unknown.\n\nExpensive software engineering techniques that are not cost-effective for non-critical systems may sometimes be used for critical systems development. For example, formal mathematical methods of software development have been successfully used for safety and security critical systems. One reason why these formal methods are used is that it helps reduce the amount of testing required. For critical systems, the costs of verification and validation are usually very high—more than 50% of the total system development costs.\n\nClassification\n\nA critical system is distinguished by the consequences associated with system or function failure. Likewise, critical systems are further distinguished between fail-operational and fail safe systems, according to the tolerance they must exhibit to failures:\n Fail-operational — typically required to operate not only in nominal conditions (expected), but also in degraded situations when some parts are not working properly. For example, airplanes are fail-operational because they must be able to fly even if some components fail.\n Fail-safe — must safely shut down in case of single or multiple failures. Trains are fail-safe systems because stopping a train is typically sufficient to put into safe state.\n\nSafety critical\n\nSafety critical systems deal with scenarios that may lead to loss of life, serious personal injury, or damage to the natural environment. Examples of safety-critical systems are a control system for a chemical manufacturing plant, aircraft, the controller of an unmanned train metro system, a controller of a nuclear plant, etc.\n\nMission critical\n\nMission critical systems are made to avoid inability to complete the overall system, project objectives or one of the goals for which the system was designed. Examples of mission-critical systems are a navigational system for a spacecraft, software controlling a baggage handling system of an airport, etc.\n\nBusiness critical\nBusiness critical systems are programmed to avoid significant tangible or intangible economic costs; e.g., loss of business or damage to reputation. This is often due to the interruption of service caused by the system being unusable. Examples of a business-critical systems are the customer accounting system in a bank, stock-trading system, ERP system of a company, Internet search engine, etc.\n\nSecurity critical\nSecurity critical systems deal with the loss of sensitive data through theft or accidental loss.\n\nSee also \n Reliability theory\n Reliable system design\n Redundancy (engineering)\n Factor of safety\n Formal methods\n\nNotes\n\nControl engineering\nSystems engineering\nEngineering failures\nMaintenance\nSafety\nReliability analysis" ]
[ "Chesley Sullenberger", "Civil aviation career", "What kind of jobs did Sullenberger have in aviation?", "founder and CEO of Safety Reliability Methods, Inc.", "When did Sullenberger found Safety Reliability Methods?", "2007,", "What kind of company was Safety Reliability Methods?", "firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability." ]	C_d59714f9d159469bb8f522196874a2e0_0	Does Sullenberger still work for the company?	4	Does Sullenberger still work for Safety Reliability Methods?	Chesley Sullenberger	Sullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an Airline Transport Pilot Certificate for single and multi-engine airplanes, and a Commercial Pilot Certificate rating in gliders, as well as a flight instructor certificate for airplanes (single, multi-engine, and instrument), and gliders. In total, he has more than 40 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability. He has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration Advisory Circular. He was instrumental in developing and implementing the Crew Resource Management course that is used by US Airways, and he has taught the course to hundreds of airline crew members. Working with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which "led to improved airline procedures and training for emergency evacuations of aircraft". Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis. Sullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association. He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007. CANNOTANSWER	CANNOTANSWER		false	[ "Chesley Burnett Sullenberger III (born January 23, 1951), better known as Sully, is an American retired Air Force fighter pilot, airline captain, and is U.S. Ambassador to the International Civil Aviation Organization. He is best known for his role as pilot in command in the 2009 ditching of US Airways Flight 1549 in the Hudson River off Manhattan after both engines were disabled by a bird strike; all 155 people aboard survived. Sullenberger has since become an outspoken advocate for aviation safety and has helped develop new protocols for airline safety. He served as the co-chairman, along with first officer Jeffrey Skiles (his co-pilot during Flight 1549), of the Experimental Aircraft Association (EAA)'s Young Eagles youth introduction-to-aviation program from 2009 to 2013.\n\nSullenberger retired from US Airways after 30 years as a commercial pilot on March 3, 2010. In May of the following year, he was hired by CBS News as an aviation and safety expert.\n\nSullenberger is the co-author, with Jeffrey Zaslow, of the New York Times bestseller Highest Duty: My Search for What Really Matters, a memoir of his life and of the events surrounding Flight 1549, published in 2009 by HarperCollins. His second book, Making a Difference: Stories of Vision and Courage from America's Leaders, was published in May 2012. He was ranked second in Times Top 100 Most Influential Heroes and Icons of 2009, after Michelle Obama.\n\nOn June 15, 2021, President Joe Biden announced he would nominate Sullenberger to the post of U.S. representative to the International Civil Aviation Organization, with the rank of ambassador. On December 2, 2021, Sullenberger was confirmed by unanimous consent in the Senate to serve as the next United States Ambassador to ICAO.\n\nEarly life\nChesley Burnett Sullenberger III was born January 23, 1951, in Denison, Texas. His father was a descendant of Swiss-German immigrants named Sollenberger. He has one sister, Mary. The street on which he grew up in Denison was named after his mother's family. According to his sister, Sullenberger built model planes and aircraft carriers during his childhood; she says he became interested in flying after seeing military jets from an Air Force base near his house. He went to school in Denison and was consistently on the 99th percentile in every academic category.\n\nWhen he was 12 years old, his IQ was deemed high enough that he was allowed to join Mensa International. In high school, he was the president of the Latin club, a first chair flutist, and an honor student. He was an active member of the Waples Memorial United Methodist Church in Denison. He graduated from Denison High School in 1969, near the top of his class of about 350. At 16, Sullenberger learned to fly in an Aeronca Champion 7DC from a private airstrip near his home. He said that the training he received from a local flight instructor influenced his aviation career for the rest of his life.\n\nSullenberger earned a Bachelor of Science degree from the United States Air Force Academy. He also earned a master's degree in industrial psychology from Purdue University in 1973 and a Master of Public Administration from the University of Northern Colorado in 1979.\n\nMilitary service\n\nSullenberger was appointed to the United States Air Force Academy, entering with the Class of 1973 in June 1969. He was selected along with around a dozen other freshmen for a cadet glider program, and by the end of that year, he was an instructor pilot. In the year of his graduation, 1973, he received the Outstanding Cadet in Airmanship award, as the class's \"top flyer\". Following his graduation with a Bachelor of Science degree and his commissioning as an officer, the Air Force immediately sent Sullenberger to Purdue University to pursue a master's degree prior to entering Undergraduate Pilot Training (UPT).\n\nFollowing completion of his graduate degree at Purdue, he was assigned to UPT at Columbus AFB, Mississippi, flying the T-37 Tweet and T-38 Talon. After earning his wings in 1975 as a pilot, he completed replacement training in the F-4 Phantom II at Luke AFB, Arizona. This was followed by his assignment to the 493d Tactical Fighter Squadron of 48th Tactical Fighter Wing at RAF Lakenheath, United Kingdom, in the F-4D Phantom II.\n\nFollowing his assignment at RAF Lakenheath, he was reassigned to the 428th Tactical Fighter Squadron of the 474th Tactical Fighter Wing at Nellis AFB, Nevada, again flying the F-4D. He advanced to become a flight leader and a training officer and attained the rank of captain, with experience in Europe, the Pacific, and at Nellis Air Force Base, as well as operating as Blue Force mission commander in Red Flag Exercises. While in the Air Force, he was a member of an aircraft accident investigation board.\n\nCivil aviation career\n\nSullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an airline transport pilot certificate for single and multi-engine airplanes, a commercial pilot license rating in gliders, and a flight instructor certificate for airplanes (single, multi-engine, and instrument) and gliders. In total, he has more than 50 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability.\n\nHe has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association local air safety chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration advisory circular. He was instrumental in developing and implementing the Crew Resource Management course that was used by US Airways, and he has taught the course to hundreds of airline crew members.\n\nWorking with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which \"led to improved airline procedures and training for emergency evacuations of aircraft.\" Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis.\n\nSullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association.\n\nHe was a featured speaker for two panels: one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007.\n\nFlight 1549\n\nOn January 15, 2009, Sullenberger was the captain of US Airways Flight 1549, an Airbus A320 taking off from LaGuardia Airport in New York City. Shortly after takeoff, the plane struck a flock of Canada geese and lost power in both engines. Quickly determining he would be unable to reach either LaGuardia or Teterboro Airport, Sullenberger piloted the plane to an emergency water landing on the Hudson River. All 155 people on board survived and were rescued by nearby boats.\n\nSullenberger said later: \"It was very quiet as we worked, my copilot Jeff Skiles and I. We were a team. But to have zero thrust coming out of those engines was shocking—the silence.\" Sullenberger was the last to leave the aircraft, after twice making sweeps through the cabin to make sure all passengers and crew had evacuated.\n\nSullenberger, described by friends as \"shy and reticent,\" was noted for his poise and calm during the crisis; New York City Mayor Michael Bloomberg dubbed him \"Captain Cool\". Nonetheless, Sullenberger suffered symptoms of post-traumatic stress disorder in subsequent weeks, including sleeplessness and flashbacks. He said that the moments before the ditching were \"the worst sickening, pit-of-your-stomach, falling-through-the-floor feeling\" that he had ever experienced. He also said: \"One way of looking at this might be that for 42 years, I've been making small, regular deposits in this bank of experience, education and training. And on January 15, the balance was sufficient so that I could make a very large withdrawal.\"\n\nThe National Transportation Safety Board ruled that Sullenberger made the correct decision in landing on the river instead of attempting a return to LaGuardia because the normal procedures for engine loss are designed for cruising altitudes, not immediately after takeoff. Simulations performed at the Airbus Training Centre Europe in Toulouse showed that Flight 1549 could have made it back to LaGuardia had that maneuver begun immediately after the bird strike. However, such scenarios both neglected the time necessary for the pilots to understand and assess the situation, and risked the possibility of a crash within a densely populated area.\n\nPost-flight accolades and publicity\n\nU.S. President George W. Bush called Sullenberger to thank him for saving the lives of the passengers, as did President-elect Barack Obama, who also invited him and the crew to join the presidential inauguration ceremony. On January 16, 2009, the United States Senate passed a resolution recognizing and honoring Sullenberger, Skiles, the cabin crew, the passengers, and the first responders involved in Flight 1549's emergency landing. The United States House of Representatives passed a similar resolution on January 26, 2009.\n\nSullenberger attended the presidential inauguration on January 20, 2009, where he and his wife met President Obama. On January 22, 2009, he and the rest of the crew of Flight 1549 were awarded a Masters Medal by the Guild of Air Pilots and Air Navigators. A ceremony for Sullenberger was held on January 24, 2009, in Sullenberger's hometown of Danville, California, where he was presented with awards including Danville's \"Key to the Town\", and was named an honorary Danville police officer. While in the Tri-Valley, Sullenberger decided to grant his first official interview to Jega Sanmugam of The Wildcat Tribune, the official student newspaper of Dougherty Valley High School, which his daughter attended at the time. In a special February 2009 edition, the Tribune published \"Heroism & Humility on the Hudson,\" covering Sullenberger and the Flight 1549 landing.\n\nSan Ramon Valley Fire Protection District Chief Richard Price presented Captain Sullenberger with his district's highest award, the Medal of Valor, which has been given only a few times in the district's history. Sullenberger, Skiles, and Flight 1549's cabin crew, Doreen Welsh, Sheila Dail, and Donna Dent, were honored with a standing ovation during the Super Bowl XLIII pre-game ceremony on February 1, 2009. Sullenberger was awarded with honorary lifetime membership in the Seaplane Pilots Association. In 2009, Sullenberger was awarded the Founders' Medal by The Air League. Admirers of Sullenberger also started a Facebook fan site that, as of late February 2009, had half a million members.\n\nA library book, Just Culture: Balancing Safety and Accountability was in Sullenberger's luggage left behind in the cockpit. When Sullenberger notified the library that the water-damaged book had been recovered, it made a point of waiving any late fees. Bloomberg presented Sullenberger with a new copy along with the Key to the City of New York.\n\nSullenberger threw out the first pitch of the 2009 Major League Baseball season for the San Francisco Giants. His Giants jersey was inscribed with the name \"Sully\" and the number 155—a reference to the 155 people aboard the plane.\n\nOn June 6, 2009, Sullenberger returned to his childhood hometown of Denison, Texas, to participate in the town's D-Day celebration and to give the commencement address for his alma mater, Denison High School, marking the 40th anniversary of his own graduation from the school.\n\nSullenberger also made an appearance in St. Louis, Missouri, on July 14, 2009, to participate in the Red Carpet All-Star Parade before the 2009 Major League Baseball All-Star Game.\n\nOn February 24, 2009, Sullenberger testified before the U.S. House of Representatives Subcommittee on Aviation of the Committee on Transportation & Infrastructure that his salary had been cut by 40 percent, and that his pension, like most airline pensions, was terminated and replaced by a PBGC guarantee worth only pennies on the dollar. He cautioned that airlines were \"under pressure to hire people with less experience. Their salaries are so low that people with greater experience will not take those jobs. We have some carriers that have hired some pilots with only a few hundred hours of experience. ... There’s simply no substitute for experience in terms of aviation safety.\"\n\nThe Carolinas Aviation Museum in Charlotte, North Carolina, which will house a Miracle on the Hudson exhibit, announced on January 14, 2022 that it would be named for Sullenberger.\n\nSubsequent career\n\nIn 2010, Sullenberger retired after 30 years with US Airways and its predecessor. His final flight was US Airways Flight 1167 from Fort Lauderdale, Florida, to Charlotte, North Carolina, where he was reunited with his copilot Jeff Skiles and a half dozen of the passengers on Flight 1549.\n\nSullenberger is an international lecturer and keynote speaker at educational institutions, corporations, and non-profit organizations about the importance of aviation and patient safety, high performance systems improvement, leadership and culture, risk and crisis management, life-long preparation, and living a life of integrity. He presented at the World Economic Forum in Davos in 2011, as well as the Swiss Economic Forum that same year.\n\nHe served as the 2010 Tournament of Roses Parade's Grand Marshal.\n\nIn 2011, as part of a fundraising effort, Sullenberger flew to the Carolinas Aviation Museum in Charlotte, North Carolina, where the aircraft he landed on the Hudson River is on exhibit.\n\nIn December 2010, Sullenberger was appointed an Officer of France's Legion of Honour.\n\nIn 2009 Sullenberger received the Air League Founders’ Medal from the Air League's patron, Prince Philip, Duke of Edinburgh, in 2009. He and the Flight 1549 crew received the Smithsonian National Air and Space Museum Trophy for Current Achievement in 2010.\n\nWith coauthor Jeffrey Zaslow, Sullenberger wrote the 2009 bestselling memoir Highest Duty: My Search for What Really Matters. In the book, Sullenberger also discusses personal matters, including his father's suicide in 1995, the Sullenbergers' struggle with infertility, and their decision to adopt.\n\nSullenberger's second book, Making a Difference: Stories of Vision and Courage from America's Leaders, was released on May 15, 2012.\n\nIn May 2011, CBS News hired Sullenberger as an aviation and safety expert. \n\nIn 2019 Sullenberger said that Boeing 737 MAX crashes \"are demonstrable evidence that our current system of aircraft design and certification has failed us. These accidents should never have happened.\" He sharply criticized Boeing and the Federal Aviation Administration, saying that the overly \"cozy relationship\" between the aviation industry and government was evident in March 2019 when Boeing CEO Dennis Muilenberg lobbied President Donald Trump to prevent the 737 MAX 8 from being grounded.\n\nPolitics\n\nIn October 2009, it was reported that the Republican Party had approached Sullenberger about running against Democratic U.S. Representative Jerry McNerney of California's 11th congressional district in the 2010 elections. Sullenberger's publicist said that he had no desire to run for public office.\n\nIn late October 2018, Sullenberger wrote an op-ed in The Washington Post ahead of the 2018 mid-term elections, calling on Americans to vote \"for leaders who are committed to the values that will unite and protect us,\" who have a \"moral compass ... competence, integrity, and concern for the greater good.\" In a subsequent interview with Lawrence O'Donnell, Sullenberger elaborated his position, discussing his belief that voters should act as a check and balance in a partisan government. He also wrote that he has been a registered Republican for the majority of his adult life but has \"always voted as an American.” By 2019, he had switched his party affiliation to Democrat.\n\nIn February 2020, Sullenberger endorsed former U.S. Vice President Joe Biden for the presidency. In September 2020, he worked with Vote Vets and The Lincoln Project to create a commercial urging Americans to vote President Donald Trump out of office. On June 15, 2021, Biden nominated Sullenberger to be the U.S. representative to the Council of the International Civil Aviation Organization, with the rank of ambassador. He was confirmed by a unanimous Senate on December 2, 2021. He presented his credentials to the International Civil Aviation Organization secretary general Juan Carlos Salazar on February 3, 2022.\n\nPersonal life\nSullenberger is married to fitness instructor Lorraine \"Lorrie\" Sullenberger, with whom he adopted two daughters, Kate and Kelly.\n\nOn December 7, 1995, Sullenberger's father took his own life by gunshot shortly after being released from hospital following major surgery. He had been suffering from depression in the face of a long and difficult convalescence ahead of him. He left no note. As a result of this, Sullenberger became a suicide prevention activist, having promoted National Suicide Prevention Week and National Suicide Prevention Lifeline.\n\nIn popular culture\n\nRadio personality Garrison Keillor wrote \"Pilot Song: The Ballad of Chesley Sullenberger III\" for the January 17, 2009 edition of his radio variety show A Prairie Home Companion.\n\nSullenberger's speech before Congress concerning U.S. civil aviation is featured in Michael Moore's 2009 documentary Capitalism: A Love Story.\n\nSullenberger is referenced in the 2011 romantic comedy film Friends with Benefits. Throughout the film, Justin Timberlake's character repeatedly suggests to people he meets aboard planes that modern airplanes practically fly themselves, and that Sullenberger's feat was less impressive than it was portrayed, an idea for which he encounters incredulity and hostility. Mila Kunis's character is also seen reading Sullenberger's English Wikipedia article.\n\nThe 2010 song \"A Real Hero\", by French electronica artist College and the band Electric Youth, is about Captain Sullenberger and the Flight 1549 water landing. Frontman Austin Garrick was inspired to write the song by his grandfather, whose reference to Sullenberger as \"a real human being and a real hero\" became the song's refrain.\n\nIn 2010 Stephen Colbert, Jon Stewart, and Steve Carell released a comedy record called Everybody's Talking 'Bout Sully.\n\n\"Hudson River Runway\", the March 14, 2011, episode of the TV series Mayday, documents the events around Flight 1549's emergency landing and contains interviews with several of its real-life participants. Captain Sullenberger is not interviewed in the show, but is portrayed in reenactments by actor Christopher Britton.\n\nThe 2016 dramatic feature film Sully was adapted from Sullenberger's memoir Highest Duty: My Search for What Really Matters. Directed by Clint Eastwood and starring Tom Hanks as Sullenberger and Aaron Eckhart as Skiles, it recreates the events around the Hudson River landing. \n\nSullenberger appeared as himself in a cameo role in the 2017 film Daddy's Home 2.\n\nPresident George H. W. Bush's service dog Sully, who was assigned to Bush in June 2018 after the death of former First Lady Barbara Bush, was named after Sullenberger, and remained with the former president after Bush's November 2018 death, accompanying Bush's casket for its return to Washington, D.C.\n\nSully is featured in the 2020 pilot of the Fox animated TV series Duncanville.\n\nSee also\nList of accidents and incidents involving commercial aircraft\nLiving Legends of Aviation\nTammie Jo Shults\n\nReferences\n\nExternal links\n\nSullenberger's official website\nUS Airways Flight 1549 NTSB report\nHarry Walker Agency ; Sullenberger's speaker agency\nCaptain Chesley B. Sullenberger, III. HarperCollins\n\n60 Minutes interview with Captain Sullenberger (requires subscription)\nRiley, Duncan (January 15, 2009). \"A320 Pilot Chesley Sullenberger’s Other Jobs: Accident Investigator and Safety Lecturer\". TheInquisitr. Retrieved January 16, 2009.\n Twitter Moment - Sullenberger's recollections of Flight 1549, ten years on\n\n1951 births\nLiving people\nAmerican aviation record holders\nAmerican people of Swiss-German descent\nAmerican United Methodists\nAviators from Texas\nCommercial aviators\nExperimental Aircraft Association\nGlider pilots\nMental health activists\n\nOfficiers of the Légion d'honneur\nPeople from Danville, California\nPeople from Denison, Texas\nPurdue University College of Health and Human Sciences alumni\nRecipients of the Jabara Award\nSurvivors of aviation accidents or incidents\nUnited States Air Force Academy alumni\nUnited States Air Force officers\nUniversity of Northern Colorado alumni\nBiden administration personnel\nUS Airways Group\nWriters from California", "Highest Duty: My Search for What Really Matters is a 2009 memoir written by Chesley Sullenberger and Jeffrey Zaslow (1958–2012) describing the events of US Airways Flight 1549. The New York Times bestselling autobiography of Capt. Chesley “Sully” Sullenberger—the pilot who landed a crippled airplane in New York's Hudson River, saving the lives of the 155 passengers and crew—discusses leadership, responsibility, and service, along with his life story.\n\nClint Eastwood directed a 2016 film adaptation called Sully that received positive reviews from critics.\n\nReferences\n\nUS Airways Group\nAirbus A320 family\nHudson River\nAutobiographies\nAviation books\nAutobiographies adapted into films\nWilliam Morrow and Company books\n2009 non-fiction books", "Jeffrey Bruce \"Jeff\" Skiles (born November 18, 1959) is an airline pilot for American Airlines. On January 15, 2009, he became globally known as co-pilot of US Airways Flight 1549, when he worked together with captain Chesley Sullenberger to land the aircraft on the Hudson River after the plane lost both of its engines. They were widely celebrated for landing the plane with no loss of life.\n\nSkiles was flying as a First Officer on flight 1549 due to a staff reduction at US Airways; he had usually flown as Captain prior to the staff reduction and had slightly more flight hours than Sullenberger (though Skiles was relatively new to flying the Airbus A320).\n\nBoth of Skiles' parents, James Skiles and Deloris McKenney, were pilots during his childhood, and he became a pilot himself when he was just sixteen years old. He first worked flying cargo airplanes, and then worked for Midstate Airlines from 1983 to 1986. At the time of the emergency landing he had been with US Airways for 23 years.\n\nAtul Gawande, author of The Checklist Manifesto, asserted that the successful emergency landing relied on the cooperation of Sullenberger and Skiles. Gawande's central premise is that even really experienced people in any field encounter rare events, and that successfully coping with the rare event requires first, the careful anticipation of future emergencies, and secondly, preparing a well thought-out list of steps to follow, in advance:\n\nIn his book, Gawande stated that, during an emergency, there are so many tasks to complete that the first officer is working at least as hard as the captain. Sullenberger had taken on the task of finding a safe place to land, and actually landing, leaving his experienced co-pilot Skiles the task of following the checklist to try to restart the jet engines. Gawande noted that Skiles was able to complete the checklist in the less than three-minute period between the bird strike and the landing, noting this was \"something investigators later testified to be \"very remarkable\" in the time frame he hadand something they found difficult to replicate in simulation.\"\n\nPBS interviewer Charlie Rose interviewed Skiles on February 10, 2009. During that interview Skiles predicted that Sullenberger would receive on-going attention, but his (Skiles') fifteen minutes of fame would end when he left Rose's studio. However, he has continued to be a well-known speaker on corporate organizational reform and crisis management.\n \nThe National Transportation Safety Board (NTSB) conducted a lengthy and extensive investigation of the accident culminating in their published report dated April 4, 2010 stating, “The National Transportation Safety Board determines that the probable cause of this accident was the ingestion of large birds into each engine, which resulted in an almost total loss of thrust in both engines and the subsequent ditching on the Hudson River.”\n\nAfter a formal review of their performance both Sullenberger and Skiles had their flight status restored, but Sullenberger retired in 2010. Sullenberger and Skiles flew together, on March 3, 2010, on a recreation of their original flight plan, on Sullenberger's last flight for US Airways. It was their second flight together, as the pair had never worked together before the famous flight.\n\nSkiles went on to become the Vice President of the Coalition of Airline Pilots Associations (CAPA) that represents the interests of 28,000 airline pilots in safety and security issues. In this role he was instrumental in the creation of the First Officer Qualification rule, which significantly increased the requirements for training and experience of First Officers on the flight deck of US registered airliners. Skiles joined with the Families of Continental Flight 3407 and the National Air Disaster Alliance to mold the creation of and ensure passage of the Airline Safety Act of 2010, which significantly improved safety in the US airline industry; since its passage, there has not been a single fatality in a US airline accident.\n\nIn September 2009, Skiles and Sullenberger became the honorary Co-Chairmen of the Experimental Aircraft Association (EAA)'s Young Eagles program, that utilizes EAA's nationwide network of local chapters to offer free airplane rides to young people and expose them to general aviation and careers in aviation. EAA volunteers have performed over 2.2 million flights since the program's inception.\n\nSkiles is a writer and since 2011 has published over 100 articles on safety and general interest aviation topics in nationally distributed magazines such as Sport Aviation, Flying, Air & Space, PilotMag, Midwest Flyer, Vintage Airplane, and the Physicians Executive Journal.\n\nIn the 2016 drama film Sully, directed by Clint Eastwood, Skiles is portrayed by Aaron Eckhart and Sullenberger by Tom Hanks.\n\n, Skiles was working for American Airlines, piloting Boeing 787 Dreamliners.\n\nReferences\n\n1959 births\nLiving people\nCommercial aviators\nAviators from Wisconsin\nPeople from Oregon, Wisconsin\nUS Airways Group\nAmerican Airlines people\nExperimental Aircraft Association" ]
[ "Chesley Sullenberger", "Civil aviation career", "What kind of jobs did Sullenberger have in aviation?", "founder and CEO of Safety Reliability Methods, Inc.", "When did Sullenberger found Safety Reliability Methods?", "2007,", "What kind of company was Safety Reliability Methods?", "firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability.", "Does Sullenberger still work for the company?", "I don't know." ]	C_d59714f9d159469bb8f522196874a2e0_0	Did Sullenberger have any other jobs in his civil aviation career?	5	Other than being the CEO of Safety Reliability Methods, Inc, did Sullenberger have any other jobs in his civil aviation career?	Chesley Sullenberger	Sullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an Airline Transport Pilot Certificate for single and multi-engine airplanes, and a Commercial Pilot Certificate rating in gliders, as well as a flight instructor certificate for airplanes (single, multi-engine, and instrument), and gliders. In total, he has more than 40 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability. He has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration Advisory Circular. He was instrumental in developing and implementing the Crew Resource Management course that is used by US Airways, and he has taught the course to hundreds of airline crew members. Working with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which "led to improved airline procedures and training for emergency evacuations of aircraft". Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis. Sullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association. He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007. CANNOTANSWER	He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member.		false	[ "Chesley Burnett Sullenberger III (born January 23, 1951), better known as Sully, is an American retired Air Force fighter pilot, airline captain, and is U.S. Ambassador to the International Civil Aviation Organization. He is best known for his role as pilot in command in the 2009 ditching of US Airways Flight 1549 in the Hudson River off Manhattan after both engines were disabled by a bird strike; all 155 people aboard survived. Sullenberger has since become an outspoken advocate for aviation safety and has helped develop new protocols for airline safety. He served as the co-chairman, along with first officer Jeffrey Skiles (his co-pilot during Flight 1549), of the Experimental Aircraft Association (EAA)'s Young Eagles youth introduction-to-aviation program from 2009 to 2013.\n\nSullenberger retired from US Airways after 30 years as a commercial pilot on March 3, 2010. In May of the following year, he was hired by CBS News as an aviation and safety expert.\n\nSullenberger is the co-author, with Jeffrey Zaslow, of the New York Times bestseller Highest Duty: My Search for What Really Matters, a memoir of his life and of the events surrounding Flight 1549, published in 2009 by HarperCollins. His second book, Making a Difference: Stories of Vision and Courage from America's Leaders, was published in May 2012. He was ranked second in Times Top 100 Most Influential Heroes and Icons of 2009, after Michelle Obama.\n\nOn June 15, 2021, President Joe Biden announced he would nominate Sullenberger to the post of U.S. representative to the International Civil Aviation Organization, with the rank of ambassador. On December 2, 2021, Sullenberger was confirmed by unanimous consent in the Senate to serve as the next United States Ambassador to ICAO.\n\nEarly life\nChesley Burnett Sullenberger III was born January 23, 1951, in Denison, Texas. His father was a descendant of Swiss-German immigrants named Sollenberger. He has one sister, Mary. The street on which he grew up in Denison was named after his mother's family. According to his sister, Sullenberger built model planes and aircraft carriers during his childhood; she says he became interested in flying after seeing military jets from an Air Force base near his house. He went to school in Denison and was consistently on the 99th percentile in every academic category.\n\nWhen he was 12 years old, his IQ was deemed high enough that he was allowed to join Mensa International. In high school, he was the president of the Latin club, a first chair flutist, and an honor student. He was an active member of the Waples Memorial United Methodist Church in Denison. He graduated from Denison High School in 1969, near the top of his class of about 350. At 16, Sullenberger learned to fly in an Aeronca Champion 7DC from a private airstrip near his home. He said that the training he received from a local flight instructor influenced his aviation career for the rest of his life.\n\nSullenberger earned a Bachelor of Science degree from the United States Air Force Academy. He also earned a master's degree in industrial psychology from Purdue University in 1973 and a Master of Public Administration from the University of Northern Colorado in 1979.\n\nMilitary service\n\nSullenberger was appointed to the United States Air Force Academy, entering with the Class of 1973 in June 1969. He was selected along with around a dozen other freshmen for a cadet glider program, and by the end of that year, he was an instructor pilot. In the year of his graduation, 1973, he received the Outstanding Cadet in Airmanship award, as the class's \"top flyer\". Following his graduation with a Bachelor of Science degree and his commissioning as an officer, the Air Force immediately sent Sullenberger to Purdue University to pursue a master's degree prior to entering Undergraduate Pilot Training (UPT).\n\nFollowing completion of his graduate degree at Purdue, he was assigned to UPT at Columbus AFB, Mississippi, flying the T-37 Tweet and T-38 Talon. After earning his wings in 1975 as a pilot, he completed replacement training in the F-4 Phantom II at Luke AFB, Arizona. This was followed by his assignment to the 493d Tactical Fighter Squadron of 48th Tactical Fighter Wing at RAF Lakenheath, United Kingdom, in the F-4D Phantom II.\n\nFollowing his assignment at RAF Lakenheath, he was reassigned to the 428th Tactical Fighter Squadron of the 474th Tactical Fighter Wing at Nellis AFB, Nevada, again flying the F-4D. He advanced to become a flight leader and a training officer and attained the rank of captain, with experience in Europe, the Pacific, and at Nellis Air Force Base, as well as operating as Blue Force mission commander in Red Flag Exercises. While in the Air Force, he was a member of an aircraft accident investigation board.\n\nCivil aviation career\n\nSullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an airline transport pilot certificate for single and multi-engine airplanes, a commercial pilot license rating in gliders, and a flight instructor certificate for airplanes (single, multi-engine, and instrument) and gliders. In total, he has more than 50 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability.\n\nHe has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association local air safety chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration advisory circular. He was instrumental in developing and implementing the Crew Resource Management course that was used by US Airways, and he has taught the course to hundreds of airline crew members.\n\nWorking with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which \"led to improved airline procedures and training for emergency evacuations of aircraft.\" Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis.\n\nSullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association.\n\nHe was a featured speaker for two panels: one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007.\n\nFlight 1549\n\nOn January 15, 2009, Sullenberger was the captain of US Airways Flight 1549, an Airbus A320 taking off from LaGuardia Airport in New York City. Shortly after takeoff, the plane struck a flock of Canada geese and lost power in both engines. Quickly determining he would be unable to reach either LaGuardia or Teterboro Airport, Sullenberger piloted the plane to an emergency water landing on the Hudson River. All 155 people on board survived and were rescued by nearby boats.\n\nSullenberger said later: \"It was very quiet as we worked, my copilot Jeff Skiles and I. We were a team. But to have zero thrust coming out of those engines was shocking—the silence.\" Sullenberger was the last to leave the aircraft, after twice making sweeps through the cabin to make sure all passengers and crew had evacuated.\n\nSullenberger, described by friends as \"shy and reticent,\" was noted for his poise and calm during the crisis; New York City Mayor Michael Bloomberg dubbed him \"Captain Cool\". Nonetheless, Sullenberger suffered symptoms of post-traumatic stress disorder in subsequent weeks, including sleeplessness and flashbacks. He said that the moments before the ditching were \"the worst sickening, pit-of-your-stomach, falling-through-the-floor feeling\" that he had ever experienced. He also said: \"One way of looking at this might be that for 42 years, I've been making small, regular deposits in this bank of experience, education and training. And on January 15, the balance was sufficient so that I could make a very large withdrawal.\"\n\nThe National Transportation Safety Board ruled that Sullenberger made the correct decision in landing on the river instead of attempting a return to LaGuardia because the normal procedures for engine loss are designed for cruising altitudes, not immediately after takeoff. Simulations performed at the Airbus Training Centre Europe in Toulouse showed that Flight 1549 could have made it back to LaGuardia had that maneuver begun immediately after the bird strike. However, such scenarios both neglected the time necessary for the pilots to understand and assess the situation, and risked the possibility of a crash within a densely populated area.\n\nPost-flight accolades and publicity\n\nU.S. President George W. Bush called Sullenberger to thank him for saving the lives of the passengers, as did President-elect Barack Obama, who also invited him and the crew to join the presidential inauguration ceremony. On January 16, 2009, the United States Senate passed a resolution recognizing and honoring Sullenberger, Skiles, the cabin crew, the passengers, and the first responders involved in Flight 1549's emergency landing. The United States House of Representatives passed a similar resolution on January 26, 2009.\n\nSullenberger attended the presidential inauguration on January 20, 2009, where he and his wife met President Obama. On January 22, 2009, he and the rest of the crew of Flight 1549 were awarded a Masters Medal by the Guild of Air Pilots and Air Navigators. A ceremony for Sullenberger was held on January 24, 2009, in Sullenberger's hometown of Danville, California, where he was presented with awards including Danville's \"Key to the Town\", and was named an honorary Danville police officer. While in the Tri-Valley, Sullenberger decided to grant his first official interview to Jega Sanmugam of The Wildcat Tribune, the official student newspaper of Dougherty Valley High School, which his daughter attended at the time. In a special February 2009 edition, the Tribune published \"Heroism & Humility on the Hudson,\" covering Sullenberger and the Flight 1549 landing.\n\nSan Ramon Valley Fire Protection District Chief Richard Price presented Captain Sullenberger with his district's highest award, the Medal of Valor, which has been given only a few times in the district's history. Sullenberger, Skiles, and Flight 1549's cabin crew, Doreen Welsh, Sheila Dail, and Donna Dent, were honored with a standing ovation during the Super Bowl XLIII pre-game ceremony on February 1, 2009. Sullenberger was awarded with honorary lifetime membership in the Seaplane Pilots Association. In 2009, Sullenberger was awarded the Founders' Medal by The Air League. Admirers of Sullenberger also started a Facebook fan site that, as of late February 2009, had half a million members.\n\nA library book, Just Culture: Balancing Safety and Accountability was in Sullenberger's luggage left behind in the cockpit. When Sullenberger notified the library that the water-damaged book had been recovered, it made a point of waiving any late fees. Bloomberg presented Sullenberger with a new copy along with the Key to the City of New York.\n\nSullenberger threw out the first pitch of the 2009 Major League Baseball season for the San Francisco Giants. His Giants jersey was inscribed with the name \"Sully\" and the number 155—a reference to the 155 people aboard the plane.\n\nOn June 6, 2009, Sullenberger returned to his childhood hometown of Denison, Texas, to participate in the town's D-Day celebration and to give the commencement address for his alma mater, Denison High School, marking the 40th anniversary of his own graduation from the school.\n\nSullenberger also made an appearance in St. Louis, Missouri, on July 14, 2009, to participate in the Red Carpet All-Star Parade before the 2009 Major League Baseball All-Star Game.\n\nOn February 24, 2009, Sullenberger testified before the U.S. House of Representatives Subcommittee on Aviation of the Committee on Transportation & Infrastructure that his salary had been cut by 40 percent, and that his pension, like most airline pensions, was terminated and replaced by a PBGC guarantee worth only pennies on the dollar. He cautioned that airlines were \"under pressure to hire people with less experience. Their salaries are so low that people with greater experience will not take those jobs. We have some carriers that have hired some pilots with only a few hundred hours of experience. ... There’s simply no substitute for experience in terms of aviation safety.\"\n\nThe Carolinas Aviation Museum in Charlotte, North Carolina, which will house a Miracle on the Hudson exhibit, announced on January 14, 2022 that it would be named for Sullenberger.\n\nSubsequent career\n\nIn 2010, Sullenberger retired after 30 years with US Airways and its predecessor. His final flight was US Airways Flight 1167 from Fort Lauderdale, Florida, to Charlotte, North Carolina, where he was reunited with his copilot Jeff Skiles and a half dozen of the passengers on Flight 1549.\n\nSullenberger is an international lecturer and keynote speaker at educational institutions, corporations, and non-profit organizations about the importance of aviation and patient safety, high performance systems improvement, leadership and culture, risk and crisis management, life-long preparation, and living a life of integrity. He presented at the World Economic Forum in Davos in 2011, as well as the Swiss Economic Forum that same year.\n\nHe served as the 2010 Tournament of Roses Parade's Grand Marshal.\n\nIn 2011, as part of a fundraising effort, Sullenberger flew to the Carolinas Aviation Museum in Charlotte, North Carolina, where the aircraft he landed on the Hudson River is on exhibit.\n\nIn December 2010, Sullenberger was appointed an Officer of France's Legion of Honour.\n\nIn 2009 Sullenberger received the Air League Founders’ Medal from the Air League's patron, Prince Philip, Duke of Edinburgh, in 2009. He and the Flight 1549 crew received the Smithsonian National Air and Space Museum Trophy for Current Achievement in 2010.\n\nWith coauthor Jeffrey Zaslow, Sullenberger wrote the 2009 bestselling memoir Highest Duty: My Search for What Really Matters. In the book, Sullenberger also discusses personal matters, including his father's suicide in 1995, the Sullenbergers' struggle with infertility, and their decision to adopt.\n\nSullenberger's second book, Making a Difference: Stories of Vision and Courage from America's Leaders, was released on May 15, 2012.\n\nIn May 2011, CBS News hired Sullenberger as an aviation and safety expert. \n\nIn 2019 Sullenberger said that Boeing 737 MAX crashes \"are demonstrable evidence that our current system of aircraft design and certification has failed us. These accidents should never have happened.\" He sharply criticized Boeing and the Federal Aviation Administration, saying that the overly \"cozy relationship\" between the aviation industry and government was evident in March 2019 when Boeing CEO Dennis Muilenberg lobbied President Donald Trump to prevent the 737 MAX 8 from being grounded.\n\nPolitics\n\nIn October 2009, it was reported that the Republican Party had approached Sullenberger about running against Democratic U.S. Representative Jerry McNerney of California's 11th congressional district in the 2010 elections. Sullenberger's publicist said that he had no desire to run for public office.\n\nIn late October 2018, Sullenberger wrote an op-ed in The Washington Post ahead of the 2018 mid-term elections, calling on Americans to vote \"for leaders who are committed to the values that will unite and protect us,\" who have a \"moral compass ... competence, integrity, and concern for the greater good.\" In a subsequent interview with Lawrence O'Donnell, Sullenberger elaborated his position, discussing his belief that voters should act as a check and balance in a partisan government. He also wrote that he has been a registered Republican for the majority of his adult life but has \"always voted as an American.” By 2019, he had switched his party affiliation to Democrat.\n\nIn February 2020, Sullenberger endorsed former U.S. Vice President Joe Biden for the presidency. In September 2020, he worked with Vote Vets and The Lincoln Project to create a commercial urging Americans to vote President Donald Trump out of office. On June 15, 2021, Biden nominated Sullenberger to be the U.S. representative to the Council of the International Civil Aviation Organization, with the rank of ambassador. He was confirmed by a unanimous Senate on December 2, 2021. He presented his credentials to the International Civil Aviation Organization secretary general Juan Carlos Salazar on February 3, 2022.\n\nPersonal life\nSullenberger is married to fitness instructor Lorraine \"Lorrie\" Sullenberger, with whom he adopted two daughters, Kate and Kelly.\n\nOn December 7, 1995, Sullenberger's father took his own life by gunshot shortly after being released from hospital following major surgery. He had been suffering from depression in the face of a long and difficult convalescence ahead of him. He left no note. As a result of this, Sullenberger became a suicide prevention activist, having promoted National Suicide Prevention Week and National Suicide Prevention Lifeline.\n\nIn popular culture\n\nRadio personality Garrison Keillor wrote \"Pilot Song: The Ballad of Chesley Sullenberger III\" for the January 17, 2009 edition of his radio variety show A Prairie Home Companion.\n\nSullenberger's speech before Congress concerning U.S. civil aviation is featured in Michael Moore's 2009 documentary Capitalism: A Love Story.\n\nSullenberger is referenced in the 2011 romantic comedy film Friends with Benefits. Throughout the film, Justin Timberlake's character repeatedly suggests to people he meets aboard planes that modern airplanes practically fly themselves, and that Sullenberger's feat was less impressive than it was portrayed, an idea for which he encounters incredulity and hostility. Mila Kunis's character is also seen reading Sullenberger's English Wikipedia article.\n\nThe 2010 song \"A Real Hero\", by French electronica artist College and the band Electric Youth, is about Captain Sullenberger and the Flight 1549 water landing. Frontman Austin Garrick was inspired to write the song by his grandfather, whose reference to Sullenberger as \"a real human being and a real hero\" became the song's refrain.\n\nIn 2010 Stephen Colbert, Jon Stewart, and Steve Carell released a comedy record called Everybody's Talking 'Bout Sully.\n\n\"Hudson River Runway\", the March 14, 2011, episode of the TV series Mayday, documents the events around Flight 1549's emergency landing and contains interviews with several of its real-life participants. Captain Sullenberger is not interviewed in the show, but is portrayed in reenactments by actor Christopher Britton.\n\nThe 2016 dramatic feature film Sully was adapted from Sullenberger's memoir Highest Duty: My Search for What Really Matters. Directed by Clint Eastwood and starring Tom Hanks as Sullenberger and Aaron Eckhart as Skiles, it recreates the events around the Hudson River landing. \n\nSullenberger appeared as himself in a cameo role in the 2017 film Daddy's Home 2.\n\nPresident George H. W. Bush's service dog Sully, who was assigned to Bush in June 2018 after the death of former First Lady Barbara Bush, was named after Sullenberger, and remained with the former president after Bush's November 2018 death, accompanying Bush's casket for its return to Washington, D.C.\n\nSully is featured in the 2020 pilot of the Fox animated TV series Duncanville.\n\nSee also\nList of accidents and incidents involving commercial aircraft\nLiving Legends of Aviation\nTammie Jo Shults\n\nReferences\n\nExternal links\n\nSullenberger's official website\nUS Airways Flight 1549 NTSB report\nHarry Walker Agency ; Sullenberger's speaker agency\nCaptain Chesley B. Sullenberger, III. HarperCollins\n\n60 Minutes interview with Captain Sullenberger (requires subscription)\nRiley, Duncan (January 15, 2009). \"A320 Pilot Chesley Sullenberger’s Other Jobs: Accident Investigator and Safety Lecturer\". TheInquisitr. Retrieved January 16, 2009.\n Twitter Moment - Sullenberger's recollections of Flight 1549, ten years on\n\n1951 births\nLiving people\nAmerican aviation record holders\nAmerican people of Swiss-German descent\nAmerican United Methodists\nAviators from Texas\nCommercial aviators\nExperimental Aircraft Association\nGlider pilots\nMental health activists\n\nOfficiers of the Légion d'honneur\nPeople from Danville, California\nPeople from Denison, Texas\nPurdue University College of Health and Human Sciences alumni\nRecipients of the Jabara Award\nSurvivors of aviation accidents or incidents\nUnited States Air Force Academy alumni\nUnited States Air Force officers\nUniversity of Northern Colorado alumni\nBiden administration personnel\nUS Airways Group\nWriters from California", "Jeffrey Bruce \"Jeff\" Skiles (born November 18, 1959) is an airline pilot for American Airlines. On January 15, 2009, he became globally known as co-pilot of US Airways Flight 1549, when he worked together with captain Chesley Sullenberger to land the aircraft on the Hudson River after the plane lost both of its engines. They were widely celebrated for landing the plane with no loss of life.\n\nSkiles was flying as a First Officer on flight 1549 due to a staff reduction at US Airways; he had usually flown as Captain prior to the staff reduction and had slightly more flight hours than Sullenberger (though Skiles was relatively new to flying the Airbus A320).\n\nBoth of Skiles' parents, James Skiles and Deloris McKenney, were pilots during his childhood, and he became a pilot himself when he was just sixteen years old. He first worked flying cargo airplanes, and then worked for Midstate Airlines from 1983 to 1986. At the time of the emergency landing he had been with US Airways for 23 years.\n\nAtul Gawande, author of The Checklist Manifesto, asserted that the successful emergency landing relied on the cooperation of Sullenberger and Skiles. Gawande's central premise is that even really experienced people in any field encounter rare events, and that successfully coping with the rare event requires first, the careful anticipation of future emergencies, and secondly, preparing a well thought-out list of steps to follow, in advance:\n\nIn his book, Gawande stated that, during an emergency, there are so many tasks to complete that the first officer is working at least as hard as the captain. Sullenberger had taken on the task of finding a safe place to land, and actually landing, leaving his experienced co-pilot Skiles the task of following the checklist to try to restart the jet engines. Gawande noted that Skiles was able to complete the checklist in the less than three-minute period between the bird strike and the landing, noting this was \"something investigators later testified to be \"very remarkable\" in the time frame he hadand something they found difficult to replicate in simulation.\"\n\nPBS interviewer Charlie Rose interviewed Skiles on February 10, 2009. During that interview Skiles predicted that Sullenberger would receive on-going attention, but his (Skiles') fifteen minutes of fame would end when he left Rose's studio. However, he has continued to be a well-known speaker on corporate organizational reform and crisis management.\n \nThe National Transportation Safety Board (NTSB) conducted a lengthy and extensive investigation of the accident culminating in their published report dated April 4, 2010 stating, “The National Transportation Safety Board determines that the probable cause of this accident was the ingestion of large birds into each engine, which resulted in an almost total loss of thrust in both engines and the subsequent ditching on the Hudson River.”\n\nAfter a formal review of their performance both Sullenberger and Skiles had their flight status restored, but Sullenberger retired in 2010. Sullenberger and Skiles flew together, on March 3, 2010, on a recreation of their original flight plan, on Sullenberger's last flight for US Airways. It was their second flight together, as the pair had never worked together before the famous flight.\n\nSkiles went on to become the Vice President of the Coalition of Airline Pilots Associations (CAPA) that represents the interests of 28,000 airline pilots in safety and security issues. In this role he was instrumental in the creation of the First Officer Qualification rule, which significantly increased the requirements for training and experience of First Officers on the flight deck of US registered airliners. Skiles joined with the Families of Continental Flight 3407 and the National Air Disaster Alliance to mold the creation of and ensure passage of the Airline Safety Act of 2010, which significantly improved safety in the US airline industry; since its passage, there has not been a single fatality in a US airline accident.\n\nIn September 2009, Skiles and Sullenberger became the honorary Co-Chairmen of the Experimental Aircraft Association (EAA)'s Young Eagles program, that utilizes EAA's nationwide network of local chapters to offer free airplane rides to young people and expose them to general aviation and careers in aviation. EAA volunteers have performed over 2.2 million flights since the program's inception.\n\nSkiles is a writer and since 2011 has published over 100 articles on safety and general interest aviation topics in nationally distributed magazines such as Sport Aviation, Flying, Air & Space, PilotMag, Midwest Flyer, Vintage Airplane, and the Physicians Executive Journal.\n\nIn the 2016 drama film Sully, directed by Clint Eastwood, Skiles is portrayed by Aaron Eckhart and Sullenberger by Tom Hanks.\n\n, Skiles was working for American Airlines, piloting Boeing 787 Dreamliners.\n\nReferences\n\n1959 births\nLiving people\nCommercial aviators\nAviators from Wisconsin\nPeople from Oregon, Wisconsin\nUS Airways Group\nAmerican Airlines people\nExperimental Aircraft Association", "On January 15, 2009, US Airways Flight 1549, an Airbus A320 on a flight from New York City's LaGuardia Airport to Charlotte, North Carolina, struck a flock of birds shortly after take-off, losing all engine power. Unable to reach any airport for an emergency landing due to their low altitude, pilots Chesley \"Sully\" Sullenberger and Jeffrey Skiles glided the plane to a ditching in the Hudson River off Midtown Manhattan. All 155 people on board were rescued by nearby boats, with only a few serious injuries.\n\nThis water landing of a powerless jetliner with no deaths became known as the Miracle on the Hudson, and a National Transportation Safety Board official described it as \"the most successful ditching in aviation history\". The Board rejected the notion that the pilot could have avoided ditching by returning to LaGuardia or diverting to nearby Teterboro Airport.\n\nThe pilots and flight attendants were awarded the Master's Medal of the Guild of Air Pilots and Air Navigators in recognition of their \"heroic and unique aviation achievement\". It was dramatized in the 2016 film Sully, starring Tom Hanks as Sullenberger.\n\nBackground\n\nOn January 15, 2009, US Airways Flight 1549 with call sign 'Cactus 1549' was scheduled to fly from New York City's LaGuardia Airport (LGA) to Charlotte Douglas International Airport (CLT) in Charlotte, North Carolina, with direct onward service to Seattle–Tacoma International Airport.\nThe aircraft was an Airbus A320-214 powered by two GE Aviation/Snecma-designed CFM56-5B4/P turbofan engines.\n\nThe captain and pilot in command was 57-year-old Chesley 'Sully' Sullenberger, a former fighter pilot who had been an airline pilot since leaving the United States Air Force in 1980. At the time, he had logged 19,663 total flight hours, including 4,765 in an A320; he was also a glider pilot and expert on aviation safety. First officer Jeffrey Skiles, 49, had accrued 20,727 career flight hours with 37 in an A320, but this was his first A320 assignment as pilot flying. There were 150 passengers and three flight attendants on board.\n\nAccident\n\nTakeoff and bird strike\n\nThe flight was cleared for takeoff to the northeast from LaGuardia's Runway 4 at 3:24:56 pm Eastern Standard Time (20:24:56 UTC). With Skiles in control, the crew made its first report after becoming airborne at 3:25:51 as being at and climbing.\n\nThe weather at 2:51 p.m. was visibility with broken clouds at , wind from 290°; an hour later it was few clouds at , wind from 310°. At 3:26:37 Sullenberger remarked to Skiles: \"What a view of the Hudson today.\"\n\nAt 3:27:11 during climbout, the plane struck a flock of Canada geese at an altitude of about north-northwest of LaGuardia. The pilots' view was filled with the large birds; passengers and crew heard very loud bangs and saw flames from the engines, followed by silence and an odor of fuel.\n \nRealizing that both engines had shut down, Sullenberger took control while Skiles worked the checklist for engine restart. The aircraft slowed but continued to climb for a further 19 seconds, reaching about at an airspeed of about , then began a glide descent, accelerating to at 3:28:10 as it descended through .\n\nAt 3:27:33, Sullenberger radioed a mayday call to New York Terminal Radar Approach Control (TRACON): \"... this is Cactus fifteen thirty nine [siccorrect call sign was Cactus 1549], hit birds. We've lost thrust on both engines. We're turning back towards LaGuardia\". Air traffic controller Patrick Harten told LaGuardia's tower to hold all departures, and directed Sullenberger back to Runway 31. Sullenberger responded, \"Unable\".\n\nSullenberger asked controllers for landing options in New Jersey, mentioning Teterboro Airport. Permission was given for Teterboro's Runway 1, Sullenberger initially responded \"Yes\", but then: \"We can't do it ... We're gonna be in the Hudson\". The aircraft passed less than above the George Washington Bridge. Sullenberger commanded over the cabin address system to \"brace for impact\" and the flight attendants relayed the command to passengers. Meanwhile, air traffic controllers asked the Coast Guard to caution vessels in the Hudson and ask them to prepare to assist with rescue.\n\nDitching and evacuation\n\nAbout ninety seconds later, at 3:31 pm, the plane made an unpowered ditching, descending southwards at about into the middle of the North River section of the Hudson tidal estuary, at \t on the New York side of the state line, roughly opposite West 50th Street (near the Intrepid Sea, Air & Space Museum) in Manhattan and Port Imperial in Weehawken, New Jersey. Flight attendants compared the ditching to a \"hard landing\" with \"one impact, no bounce, then a gradual deceleration\". The ebb tide then began to take the plane southward.\n\nSullenberger opened the cockpit door and gave the order to evacuate. The crew began evacuating the passengers through the four overwing window exits and into an inflatable slide/raft deployed from the front right passenger door (the front left slide failed to operate, so the manual inflation handle was pulled). The evacuation was made more difficult by the fact that someone opened the rear left door, allowing more water to enter the plane; whether this was a flight attendant or a passenger is disputed. Water was also entering through a hole in the fuselage and through cargo doors that had come open, so as the water rose the attendant urged passengers to move forward by climbing over seats. One passenger was in a wheelchair. Finally, Sullenberger walked the cabin twice to confirm it was empty.\n\nThe air and water temperatures were about and , respectively. Some evacuees waited for rescue knee-deep in water on the partially submerged slides, some wearing life vests. Others stood on the wings or, fearing an explosion, swam away from the plane. One passenger, after helping with the evacuation, found the wing so crowded that he jumped into the river and swam to a boat.\n\nRescue\n\nSullenberger had deliberately ditched the airliner near boats in order to facilitate rescue. Two NY Waterway ferries arrived within minutes and began taking people aboard using a Jason's cradle; numerous other boats, including from the US Coast Guard, were quickly on scene as well. Sullenberger advised the ferry crews to rescue those on the wings first, as they were in more jeopardy than those on the slides, which detached to become life rafts. The last person was taken from the plane at 3:55 pm.\n\nAbout 140 New York City firefighters responded to nearby docks, as did police, helicopters, and various vessels and divers. Other agencies provided medical help on the Weehawken side of the river, where most passengers were taken.\n\nAftermath\n\nPassengers and crew sustained 95 minor and 5 serious injuries, including a deep laceration in the leg of one of the flight attendants. Seventy-eight people received medical treatment, mostly for minor injuries and hypothermia; twenty-four passengers and two rescuers were treated at hospitals, with two passengers kept overnight. One passenger now wears glasses because of eye damage from jet fuel. No pets were being carried on the flight.\n\nEach passenger later received a letter of apology, $5,000 in compensation for lost baggage (and $5,000 more if they could demonstrate larger losses), and refund of their ticket price. In May 2009, they received any belongings that had been recovered. Passengers also reported offers of $10,000 each in return for agreeing not to sue US Airways.\n\nMany passengers and rescuers later experienced post-traumatic stress symptoms such as sleeplessness, flashbacks, and panic attacks; some began an email support group. Patrick Harten, the controller who had worked the flight, said that \"the hardest, most traumatic part of the entire event was when it was over\", and that he was \"gripped by raw moments of shock and grief\".\n\nIn an effort to prevent similar accidents, officials captured and gassed 1,235 Canada geese at 17 locations across New York City in mid-2009 and coated 1,739 goose eggs with oil to smother the developing goslings.\nAs of 2017, 70,000 birds have been intentionally killed in NYC as a result of the Hudson ditching.\n\nN106US, the accident aircraft, was purchased by the Carolinas Aviation Museum in Charlotte, North Carolina, where it (and the plane's engines) were put on display.\n\nInvestigation\n\nThe partially submerged plane was towed downstream and moored to a pier near the World Financial Center in Lower Manhattan, roughly from the ditching location. On January 17 the aircraft was taken by barge to New Jersey. The left engine, which had been detached from the aircraft by the ditching, was recovered from the riverbed on January 23.\n\nThe initial National Transportation Safety Board (NTSB) evaluation that the plane had lost thrust after a bird strike was confirmed by analysis of the cockpit voice and flight data recorders.\n\nIt was found in the investigation that two days prior to the accident the aircraft had experienced a compressor stall on the right engine, but the engine had restarted and the flight completed. A faulty temperature sensor was found to be the cause of the compressor stall. This sensor had been replaced and the inspection also verified the engine had not been damaged in that incident.\n\nOn January 21, the NTSB found evidence of damage from a soft-body impact in the right engine along with organic debris including a feather. The left engine also evidenced soft body impact, with \"dents on both the spinner and inlet lip of the engine cowling. Five booster inlet guide vanes are fractured and eight outlet guide vanes are missing.\" Both engines, missing large portions of their housings, were sent to the manufacturer for examination. On January 31, the plane was moved to Kearny, New Jersey. The bird remains were later identified by DNA testing to be Canada geese, which typically weigh more than engines are designed to withstand ingesting.\n\nSince the plane had been assembled in France, the European Aviation Safety Agency (EASA; the European counterpart of the FAA) and the Bureau of Enquiry and Analysis for Civil Aviation Safety (BEA; the French counterpart of the NTSB) joined the investigation, with technical assistance from Airbus and GE Aviation/Snecma, respectively the manufacturers of the airframe and the engines.\n\nThe NTSB used flight simulators to test the possibility that the flight could have returned safely to LaGuardia or diverted to Teterboro; only seven of the thirteen simulated returns to La Guardia succeeded, and only one of the two to Teterboro. Furthermore, the NTSB report called these simulations unrealistic: \"The immediate turn made by the pilots during the simulations did not reflect or account for real-world considerations, such as the time delay required to recognize the bird strike and decide on a course of action.\" A further simulation, in which a 35-second delay was inserted to allow for those, crashed. In testimony before the NTSB, Sullenberger maintained that there had been no time to bring the plane to any airport and that attempting to do so would likely have killed those onboard and more on the ground.\n\nThe Board ultimately ruled that Sullenberger had made the correct decision, reasoning that the checklist for dual-engine failure is designed for higher altitudes when pilots have more time to deal with the situation, and that while simulations showed that the plane might have just barely made it back to LaGuardia, those scenarios assumed an instant decision to do so, with no time allowed for assessing the situation.\n\nOn May 4, 2010, the NTSB issued its final report, which identified the probable cause as \"the ingestion of large birds into each engine, which resulted in an almost total loss of thrust in both engines\". The final report credited the outcome to four factors: good decision-making and teamwork by the cockpit crew (including decisions to immediately turn on the APU and to ditch in the Hudson); that the A320 is certified for extended overwater operation (and hence carried life vests and additional raft/slides) even though not required for that route; the performance of the flight crew during the evacuation; and the proximity of working vessels to the ditching site. Contributing factors were good visibility and fast response times from the ferry operators and emergency responders. The report made 34 recommendations, including that engines be tested for resistance to bird strikes at low speeds; development of checklists for dual-engine failures at low altitude, and changes to checklist design in general \"to minimize the risk of flight crewmembers becoming stuck in an inappropriate checklist or portion of a checklist\"; improved pilot training for water landings; provision of life vests on all flights regardless of route, and changes to the locations of vests and other emergency equipment; research into improved wildlife management, and technical innovations on aircraft, to reduce bird strikes; research into possible changes in passenger brace positions; and research into \"methods of overcoming passengers' inattention\" during preflight safety briefings.\n\nAuthor and pilot William Langewiesche asserted that insufficient credit was given to the A320's fly-by-wire design, by which the pilot uses a side-stick to make control inputs to the flight control computers. The computers then impose adjustments and limits of their own to keep the plane stable, which the pilot cannot override even in an emergency. This design allowed the pilots of Flight 1549 to concentrate on engine restart and deciding the course, without the burden of manually adjusting the glidepath to reduce the plane's rate of descent. However, Sullenberger said that these computer-imposed limits also prevented him from achieving the optimal landing flare for the ditching, which would have softened the impact.\n\nCrew awards and honors\n\nAn NTSB board member called the ditching \"the most successful... in aviation history. These people knew what they were supposed to do and they did it and as a result, no lives were lost.\"\nNew York State Governor David Paterson called the incident \"a Miracle on the Hudson\". U.S. President George W. Bush said he was \"inspired by the skill and heroism of the flight crew,\" and praised the emergency responders and volunteers. President-elect Barack Obama said that everyone was proud of Sullenberger's \"heroic and graceful job in landing the damaged aircraft\". He thanked the crew, whom he invited to his inauguration five days later.\n\nThe Guild of Air Pilots and Air Navigators awarded the crew the rarely bestowed Master's Medal on January 22, 2009, for outstanding aviation achievement, at the discretion of the Master of the Guild. New York City Mayor Michael Bloomberg presented the crew with the Keys to the City, and Sullenberger with a replacement copy of a library book lost on the flight, Sidney Dekker's Just Culture: Balancing Safety and Accountability. Rescuers received Certificates of Honor.\n\nThe crew received a standing ovation at the Super Bowl XLIII on February 1, 2009, and Sullenberger threw the ceremonial first pitch of the 2009 Major League Baseball season for the San Francisco Giants. His Giants jersey was inscribed with the name \"Sully\" and the number 155the count of people aboard the plane.\n\nOn July 28, passengers Dave Sanderson and Barry Leonard organized a thank-you luncheon for emergency responders from Hudson County, New Jersey, on the shores of Palisades Medical Center in North Bergen, New Jersey, where 57 passengers had been brought following their rescue. Present were members of the U.S. Coast Guard, North Hudson Regional Fire and Rescue, NY Waterway Ferries, the American Red Cross, Weehawken Volunteer First Aid, the Weehawken Police Department, West New York E.M.S., North Bergen E.M.S., the Hudson County Office of Emergency Management, the New Jersey E.M.S. Task Force, the Guttenberg Police Department, McCabe Ambulance, the Harrison Police Department, and doctors and nurses who treated survivors.\n\nSullenberger was named Grand Marshal for the 2010 Tournament of Roses Parade in Pasadena, California.\n\nIn August 2010, aeronautical chart publisher Jeppesen issued a humorous approach plate titled \"Hudson Miracle APCH,\" dedicated to the five crew of Flight 1549 and annotated \"Presented with Pride and Gratitude from your friends at Jeppesen\".\n\nSullenberger retired on March 3, 2010, after thirty years with US Airways and its predecessor, Pacific Southwest Airlines. At the end of his final flight he was reunited with Skiles and a number of the passengers from Flight 1549.\n\nIn 2013, the entire crew was inducted into the International Air & Space Hall of Fame at the San Diego Air & Space Museum.\n\nMedia\n\nSullenberger's 2009 memoir, Highest Duty: My Search for What Really Matters, was adapted into the feature film Sully, directed by Clint Eastwood. It starred Tom Hanks as Sullenberger and Aaron Eckhart as co-pilot Jeff Skiles. It was released by Warner Bros. on September 9, 2016.\n\nSee also \n List of airline flights that required gliding\n Aeroflot Flight 366, 21 August 1963, another aviation accident involving a ditching into a river\n Ural Airlines Flight 178\n2009 Makhachkala Il-76 collision, 15 January 2009, another accident which occurred in the same date\n\nNotes\n\nReferences\n\nExternal links\n\nNational Transportation Safety Board \nAccident Report\nInvestigation docket\n\nOther links\n\n Twitter Moment - Sullenberger's recollections, ten years on\n\nAccidents and incidents involving the Airbus A320\nAirliner accidents and incidents caused by bird strikes\nAirliner accidents and incidents in New Jersey\nAirliner accidents and incidents in New York City\nAirliner accidents and incidents involving ditching\nAviation accidents and incidents in the United States in 2009\nAviation accidents and incidents in 2009\nHudson River\n1549\n2009 in New Jersey\n2009 in New York (state)\nArticles containing video clips\nJanuary 2009 events in the United States\nWeehawken, New Jersey" ]
[ "Chesley Sullenberger", "Civil aviation career", "What kind of jobs did Sullenberger have in aviation?", "founder and CEO of Safety Reliability Methods, Inc.", "When did Sullenberger found Safety Reliability Methods?", "2007,", "What kind of company was Safety Reliability Methods?", "firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability.", "Does Sullenberger still work for the company?", "I don't know.", "Did Sullenberger have any other jobs in his civil aviation career?", "He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member." ]	C_d59714f9d159469bb8f522196874a2e0_0	When did Sullenberger serve as an instructor?	6	When did Sullenberger serve as an instructor?	Chesley Sullenberger	Sullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an Airline Transport Pilot Certificate for single and multi-engine airplanes, and a Commercial Pilot Certificate rating in gliders, as well as a flight instructor certificate for airplanes (single, multi-engine, and instrument), and gliders. In total, he has more than 40 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability. He has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration Advisory Circular. He was instrumental in developing and implementing the Crew Resource Management course that is used by US Airways, and he has taught the course to hundreds of airline crew members. Working with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which "led to improved airline procedures and training for emergency evacuations of aircraft". Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis. Sullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association. He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007. CANNOTANSWER	CANNOTANSWER		false	[ "Chesley Burnett Sullenberger III (born January 23, 1951), better known as Sully, is an American retired Air Force fighter pilot, airline captain, and is U.S. Ambassador to the International Civil Aviation Organization. He is best known for his role as pilot in command in the 2009 ditching of US Airways Flight 1549 in the Hudson River off Manhattan after both engines were disabled by a bird strike; all 155 people aboard survived. Sullenberger has since become an outspoken advocate for aviation safety and has helped develop new protocols for airline safety. He served as the co-chairman, along with first officer Jeffrey Skiles (his co-pilot during Flight 1549), of the Experimental Aircraft Association (EAA)'s Young Eagles youth introduction-to-aviation program from 2009 to 2013.\n\nSullenberger retired from US Airways after 30 years as a commercial pilot on March 3, 2010. In May of the following year, he was hired by CBS News as an aviation and safety expert.\n\nSullenberger is the co-author, with Jeffrey Zaslow, of the New York Times bestseller Highest Duty: My Search for What Really Matters, a memoir of his life and of the events surrounding Flight 1549, published in 2009 by HarperCollins. His second book, Making a Difference: Stories of Vision and Courage from America's Leaders, was published in May 2012. He was ranked second in Times Top 100 Most Influential Heroes and Icons of 2009, after Michelle Obama.\n\nOn June 15, 2021, President Joe Biden announced he would nominate Sullenberger to the post of U.S. representative to the International Civil Aviation Organization, with the rank of ambassador. On December 2, 2021, Sullenberger was confirmed by unanimous consent in the Senate to serve as the next United States Ambassador to ICAO.\n\nEarly life\nChesley Burnett Sullenberger III was born January 23, 1951, in Denison, Texas. His father was a descendant of Swiss-German immigrants named Sollenberger. He has one sister, Mary. The street on which he grew up in Denison was named after his mother's family. According to his sister, Sullenberger built model planes and aircraft carriers during his childhood; she says he became interested in flying after seeing military jets from an Air Force base near his house. He went to school in Denison and was consistently on the 99th percentile in every academic category.\n\nWhen he was 12 years old, his IQ was deemed high enough that he was allowed to join Mensa International. In high school, he was the president of the Latin club, a first chair flutist, and an honor student. He was an active member of the Waples Memorial United Methodist Church in Denison. He graduated from Denison High School in 1969, near the top of his class of about 350. At 16, Sullenberger learned to fly in an Aeronca Champion 7DC from a private airstrip near his home. He said that the training he received from a local flight instructor influenced his aviation career for the rest of his life.\n\nSullenberger earned a Bachelor of Science degree from the United States Air Force Academy. He also earned a master's degree in industrial psychology from Purdue University in 1973 and a Master of Public Administration from the University of Northern Colorado in 1979.\n\nMilitary service\n\nSullenberger was appointed to the United States Air Force Academy, entering with the Class of 1973 in June 1969. He was selected along with around a dozen other freshmen for a cadet glider program, and by the end of that year, he was an instructor pilot. In the year of his graduation, 1973, he received the Outstanding Cadet in Airmanship award, as the class's \"top flyer\". Following his graduation with a Bachelor of Science degree and his commissioning as an officer, the Air Force immediately sent Sullenberger to Purdue University to pursue a master's degree prior to entering Undergraduate Pilot Training (UPT).\n\nFollowing completion of his graduate degree at Purdue, he was assigned to UPT at Columbus AFB, Mississippi, flying the T-37 Tweet and T-38 Talon. After earning his wings in 1975 as a pilot, he completed replacement training in the F-4 Phantom II at Luke AFB, Arizona. This was followed by his assignment to the 493d Tactical Fighter Squadron of 48th Tactical Fighter Wing at RAF Lakenheath, United Kingdom, in the F-4D Phantom II.\n\nFollowing his assignment at RAF Lakenheath, he was reassigned to the 428th Tactical Fighter Squadron of the 474th Tactical Fighter Wing at Nellis AFB, Nevada, again flying the F-4D. He advanced to become a flight leader and a training officer and attained the rank of captain, with experience in Europe, the Pacific, and at Nellis Air Force Base, as well as operating as Blue Force mission commander in Red Flag Exercises. While in the Air Force, he was a member of an aircraft accident investigation board.\n\nCivil aviation career\n\nSullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an airline transport pilot certificate for single and multi-engine airplanes, a commercial pilot license rating in gliders, and a flight instructor certificate for airplanes (single, multi-engine, and instrument) and gliders. In total, he has more than 50 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability.\n\nHe has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association local air safety chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration advisory circular. He was instrumental in developing and implementing the Crew Resource Management course that was used by US Airways, and he has taught the course to hundreds of airline crew members.\n\nWorking with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which \"led to improved airline procedures and training for emergency evacuations of aircraft.\" Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis.\n\nSullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association.\n\nHe was a featured speaker for two panels: one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007.\n\nFlight 1549\n\nOn January 15, 2009, Sullenberger was the captain of US Airways Flight 1549, an Airbus A320 taking off from LaGuardia Airport in New York City. Shortly after takeoff, the plane struck a flock of Canada geese and lost power in both engines. Quickly determining he would be unable to reach either LaGuardia or Teterboro Airport, Sullenberger piloted the plane to an emergency water landing on the Hudson River. All 155 people on board survived and were rescued by nearby boats.\n\nSullenberger said later: \"It was very quiet as we worked, my copilot Jeff Skiles and I. We were a team. But to have zero thrust coming out of those engines was shocking—the silence.\" Sullenberger was the last to leave the aircraft, after twice making sweeps through the cabin to make sure all passengers and crew had evacuated.\n\nSullenberger, described by friends as \"shy and reticent,\" was noted for his poise and calm during the crisis; New York City Mayor Michael Bloomberg dubbed him \"Captain Cool\". Nonetheless, Sullenberger suffered symptoms of post-traumatic stress disorder in subsequent weeks, including sleeplessness and flashbacks. He said that the moments before the ditching were \"the worst sickening, pit-of-your-stomach, falling-through-the-floor feeling\" that he had ever experienced. He also said: \"One way of looking at this might be that for 42 years, I've been making small, regular deposits in this bank of experience, education and training. And on January 15, the balance was sufficient so that I could make a very large withdrawal.\"\n\nThe National Transportation Safety Board ruled that Sullenberger made the correct decision in landing on the river instead of attempting a return to LaGuardia because the normal procedures for engine loss are designed for cruising altitudes, not immediately after takeoff. Simulations performed at the Airbus Training Centre Europe in Toulouse showed that Flight 1549 could have made it back to LaGuardia had that maneuver begun immediately after the bird strike. However, such scenarios both neglected the time necessary for the pilots to understand and assess the situation, and risked the possibility of a crash within a densely populated area.\n\nPost-flight accolades and publicity\n\nU.S. President George W. Bush called Sullenberger to thank him for saving the lives of the passengers, as did President-elect Barack Obama, who also invited him and the crew to join the presidential inauguration ceremony. On January 16, 2009, the United States Senate passed a resolution recognizing and honoring Sullenberger, Skiles, the cabin crew, the passengers, and the first responders involved in Flight 1549's emergency landing. The United States House of Representatives passed a similar resolution on January 26, 2009.\n\nSullenberger attended the presidential inauguration on January 20, 2009, where he and his wife met President Obama. On January 22, 2009, he and the rest of the crew of Flight 1549 were awarded a Masters Medal by the Guild of Air Pilots and Air Navigators. A ceremony for Sullenberger was held on January 24, 2009, in Sullenberger's hometown of Danville, California, where he was presented with awards including Danville's \"Key to the Town\", and was named an honorary Danville police officer. While in the Tri-Valley, Sullenberger decided to grant his first official interview to Jega Sanmugam of The Wildcat Tribune, the official student newspaper of Dougherty Valley High School, which his daughter attended at the time. In a special February 2009 edition, the Tribune published \"Heroism & Humility on the Hudson,\" covering Sullenberger and the Flight 1549 landing.\n\nSan Ramon Valley Fire Protection District Chief Richard Price presented Captain Sullenberger with his district's highest award, the Medal of Valor, which has been given only a few times in the district's history. Sullenberger, Skiles, and Flight 1549's cabin crew, Doreen Welsh, Sheila Dail, and Donna Dent, were honored with a standing ovation during the Super Bowl XLIII pre-game ceremony on February 1, 2009. Sullenberger was awarded with honorary lifetime membership in the Seaplane Pilots Association. In 2009, Sullenberger was awarded the Founders' Medal by The Air League. Admirers of Sullenberger also started a Facebook fan site that, as of late February 2009, had half a million members.\n\nA library book, Just Culture: Balancing Safety and Accountability was in Sullenberger's luggage left behind in the cockpit. When Sullenberger notified the library that the water-damaged book had been recovered, it made a point of waiving any late fees. Bloomberg presented Sullenberger with a new copy along with the Key to the City of New York.\n\nSullenberger threw out the first pitch of the 2009 Major League Baseball season for the San Francisco Giants. His Giants jersey was inscribed with the name \"Sully\" and the number 155—a reference to the 155 people aboard the plane.\n\nOn June 6, 2009, Sullenberger returned to his childhood hometown of Denison, Texas, to participate in the town's D-Day celebration and to give the commencement address for his alma mater, Denison High School, marking the 40th anniversary of his own graduation from the school.\n\nSullenberger also made an appearance in St. Louis, Missouri, on July 14, 2009, to participate in the Red Carpet All-Star Parade before the 2009 Major League Baseball All-Star Game.\n\nOn February 24, 2009, Sullenberger testified before the U.S. House of Representatives Subcommittee on Aviation of the Committee on Transportation & Infrastructure that his salary had been cut by 40 percent, and that his pension, like most airline pensions, was terminated and replaced by a PBGC guarantee worth only pennies on the dollar. He cautioned that airlines were \"under pressure to hire people with less experience. Their salaries are so low that people with greater experience will not take those jobs. We have some carriers that have hired some pilots with only a few hundred hours of experience. ... There’s simply no substitute for experience in terms of aviation safety.\"\n\nThe Carolinas Aviation Museum in Charlotte, North Carolina, which will house a Miracle on the Hudson exhibit, announced on January 14, 2022 that it would be named for Sullenberger.\n\nSubsequent career\n\nIn 2010, Sullenberger retired after 30 years with US Airways and its predecessor. His final flight was US Airways Flight 1167 from Fort Lauderdale, Florida, to Charlotte, North Carolina, where he was reunited with his copilot Jeff Skiles and a half dozen of the passengers on Flight 1549.\n\nSullenberger is an international lecturer and keynote speaker at educational institutions, corporations, and non-profit organizations about the importance of aviation and patient safety, high performance systems improvement, leadership and culture, risk and crisis management, life-long preparation, and living a life of integrity. He presented at the World Economic Forum in Davos in 2011, as well as the Swiss Economic Forum that same year.\n\nHe served as the 2010 Tournament of Roses Parade's Grand Marshal.\n\nIn 2011, as part of a fundraising effort, Sullenberger flew to the Carolinas Aviation Museum in Charlotte, North Carolina, where the aircraft he landed on the Hudson River is on exhibit.\n\nIn December 2010, Sullenberger was appointed an Officer of France's Legion of Honour.\n\nIn 2009 Sullenberger received the Air League Founders’ Medal from the Air League's patron, Prince Philip, Duke of Edinburgh, in 2009. He and the Flight 1549 crew received the Smithsonian National Air and Space Museum Trophy for Current Achievement in 2010.\n\nWith coauthor Jeffrey Zaslow, Sullenberger wrote the 2009 bestselling memoir Highest Duty: My Search for What Really Matters. In the book, Sullenberger also discusses personal matters, including his father's suicide in 1995, the Sullenbergers' struggle with infertility, and their decision to adopt.\n\nSullenberger's second book, Making a Difference: Stories of Vision and Courage from America's Leaders, was released on May 15, 2012.\n\nIn May 2011, CBS News hired Sullenberger as an aviation and safety expert. \n\nIn 2019 Sullenberger said that Boeing 737 MAX crashes \"are demonstrable evidence that our current system of aircraft design and certification has failed us. These accidents should never have happened.\" He sharply criticized Boeing and the Federal Aviation Administration, saying that the overly \"cozy relationship\" between the aviation industry and government was evident in March 2019 when Boeing CEO Dennis Muilenberg lobbied President Donald Trump to prevent the 737 MAX 8 from being grounded.\n\nPolitics\n\nIn October 2009, it was reported that the Republican Party had approached Sullenberger about running against Democratic U.S. Representative Jerry McNerney of California's 11th congressional district in the 2010 elections. Sullenberger's publicist said that he had no desire to run for public office.\n\nIn late October 2018, Sullenberger wrote an op-ed in The Washington Post ahead of the 2018 mid-term elections, calling on Americans to vote \"for leaders who are committed to the values that will unite and protect us,\" who have a \"moral compass ... competence, integrity, and concern for the greater good.\" In a subsequent interview with Lawrence O'Donnell, Sullenberger elaborated his position, discussing his belief that voters should act as a check and balance in a partisan government. He also wrote that he has been a registered Republican for the majority of his adult life but has \"always voted as an American.” By 2019, he had switched his party affiliation to Democrat.\n\nIn February 2020, Sullenberger endorsed former U.S. Vice President Joe Biden for the presidency. In September 2020, he worked with Vote Vets and The Lincoln Project to create a commercial urging Americans to vote President Donald Trump out of office. On June 15, 2021, Biden nominated Sullenberger to be the U.S. representative to the Council of the International Civil Aviation Organization, with the rank of ambassador. He was confirmed by a unanimous Senate on December 2, 2021. He presented his credentials to the International Civil Aviation Organization secretary general Juan Carlos Salazar on February 3, 2022.\n\nPersonal life\nSullenberger is married to fitness instructor Lorraine \"Lorrie\" Sullenberger, with whom he adopted two daughters, Kate and Kelly.\n\nOn December 7, 1995, Sullenberger's father took his own life by gunshot shortly after being released from hospital following major surgery. He had been suffering from depression in the face of a long and difficult convalescence ahead of him. He left no note. As a result of this, Sullenberger became a suicide prevention activist, having promoted National Suicide Prevention Week and National Suicide Prevention Lifeline.\n\nIn popular culture\n\nRadio personality Garrison Keillor wrote \"Pilot Song: The Ballad of Chesley Sullenberger III\" for the January 17, 2009 edition of his radio variety show A Prairie Home Companion.\n\nSullenberger's speech before Congress concerning U.S. civil aviation is featured in Michael Moore's 2009 documentary Capitalism: A Love Story.\n\nSullenberger is referenced in the 2011 romantic comedy film Friends with Benefits. Throughout the film, Justin Timberlake's character repeatedly suggests to people he meets aboard planes that modern airplanes practically fly themselves, and that Sullenberger's feat was less impressive than it was portrayed, an idea for which he encounters incredulity and hostility. Mila Kunis's character is also seen reading Sullenberger's English Wikipedia article.\n\nThe 2010 song \"A Real Hero\", by French electronica artist College and the band Electric Youth, is about Captain Sullenberger and the Flight 1549 water landing. Frontman Austin Garrick was inspired to write the song by his grandfather, whose reference to Sullenberger as \"a real human being and a real hero\" became the song's refrain.\n\nIn 2010 Stephen Colbert, Jon Stewart, and Steve Carell released a comedy record called Everybody's Talking 'Bout Sully.\n\n\"Hudson River Runway\", the March 14, 2011, episode of the TV series Mayday, documents the events around Flight 1549's emergency landing and contains interviews with several of its real-life participants. Captain Sullenberger is not interviewed in the show, but is portrayed in reenactments by actor Christopher Britton.\n\nThe 2016 dramatic feature film Sully was adapted from Sullenberger's memoir Highest Duty: My Search for What Really Matters. Directed by Clint Eastwood and starring Tom Hanks as Sullenberger and Aaron Eckhart as Skiles, it recreates the events around the Hudson River landing. \n\nSullenberger appeared as himself in a cameo role in the 2017 film Daddy's Home 2.\n\nPresident George H. W. Bush's service dog Sully, who was assigned to Bush in June 2018 after the death of former First Lady Barbara Bush, was named after Sullenberger, and remained with the former president after Bush's November 2018 death, accompanying Bush's casket for its return to Washington, D.C.\n\nSully is featured in the 2020 pilot of the Fox animated TV series Duncanville.\n\nSee also\nList of accidents and incidents involving commercial aircraft\nLiving Legends of Aviation\nTammie Jo Shults\n\nReferences\n\nExternal links\n\nSullenberger's official website\nUS Airways Flight 1549 NTSB report\nHarry Walker Agency ; Sullenberger's speaker agency\nCaptain Chesley B. Sullenberger, III. HarperCollins\n\n60 Minutes interview with Captain Sullenberger (requires subscription)\nRiley, Duncan (January 15, 2009). \"A320 Pilot Chesley Sullenberger’s Other Jobs: Accident Investigator and Safety Lecturer\". TheInquisitr. Retrieved January 16, 2009.\n Twitter Moment - Sullenberger's recollections of Flight 1549, ten years on\n\n1951 births\nLiving people\nAmerican aviation record holders\nAmerican people of Swiss-German descent\nAmerican United Methodists\nAviators from Texas\nCommercial aviators\nExperimental Aircraft Association\nGlider pilots\nMental health activists\n\nOfficiers of the Légion d'honneur\nPeople from Danville, California\nPeople from Denison, Texas\nPurdue University College of Health and Human Sciences alumni\nRecipients of the Jabara Award\nSurvivors of aviation accidents or incidents\nUnited States Air Force Academy alumni\nUnited States Air Force officers\nUniversity of Northern Colorado alumni\nBiden administration personnel\nUS Airways Group\nWriters from California", "Jeffrey Bruce \"Jeff\" Skiles (born November 18, 1959) is an airline pilot for American Airlines. On January 15, 2009, he became globally known as co-pilot of US Airways Flight 1549, when he worked together with captain Chesley Sullenberger to land the aircraft on the Hudson River after the plane lost both of its engines. They were widely celebrated for landing the plane with no loss of life.\n\nSkiles was flying as a First Officer on flight 1549 due to a staff reduction at US Airways; he had usually flown as Captain prior to the staff reduction and had slightly more flight hours than Sullenberger (though Skiles was relatively new to flying the Airbus A320).\n\nBoth of Skiles' parents, James Skiles and Deloris McKenney, were pilots during his childhood, and he became a pilot himself when he was just sixteen years old. He first worked flying cargo airplanes, and then worked for Midstate Airlines from 1983 to 1986. At the time of the emergency landing he had been with US Airways for 23 years.\n\nAtul Gawande, author of The Checklist Manifesto, asserted that the successful emergency landing relied on the cooperation of Sullenberger and Skiles. Gawande's central premise is that even really experienced people in any field encounter rare events, and that successfully coping with the rare event requires first, the careful anticipation of future emergencies, and secondly, preparing a well thought-out list of steps to follow, in advance:\n\nIn his book, Gawande stated that, during an emergency, there are so many tasks to complete that the first officer is working at least as hard as the captain. Sullenberger had taken on the task of finding a safe place to land, and actually landing, leaving his experienced co-pilot Skiles the task of following the checklist to try to restart the jet engines. Gawande noted that Skiles was able to complete the checklist in the less than three-minute period between the bird strike and the landing, noting this was \"something investigators later testified to be \"very remarkable\" in the time frame he hadand something they found difficult to replicate in simulation.\"\n\nPBS interviewer Charlie Rose interviewed Skiles on February 10, 2009. During that interview Skiles predicted that Sullenberger would receive on-going attention, but his (Skiles') fifteen minutes of fame would end when he left Rose's studio. However, he has continued to be a well-known speaker on corporate organizational reform and crisis management.\n \nThe National Transportation Safety Board (NTSB) conducted a lengthy and extensive investigation of the accident culminating in their published report dated April 4, 2010 stating, “The National Transportation Safety Board determines that the probable cause of this accident was the ingestion of large birds into each engine, which resulted in an almost total loss of thrust in both engines and the subsequent ditching on the Hudson River.”\n\nAfter a formal review of their performance both Sullenberger and Skiles had their flight status restored, but Sullenberger retired in 2010. Sullenberger and Skiles flew together, on March 3, 2010, on a recreation of their original flight plan, on Sullenberger's last flight for US Airways. It was their second flight together, as the pair had never worked together before the famous flight.\n\nSkiles went on to become the Vice President of the Coalition of Airline Pilots Associations (CAPA) that represents the interests of 28,000 airline pilots in safety and security issues. In this role he was instrumental in the creation of the First Officer Qualification rule, which significantly increased the requirements for training and experience of First Officers on the flight deck of US registered airliners. Skiles joined with the Families of Continental Flight 3407 and the National Air Disaster Alliance to mold the creation of and ensure passage of the Airline Safety Act of 2010, which significantly improved safety in the US airline industry; since its passage, there has not been a single fatality in a US airline accident.\n\nIn September 2009, Skiles and Sullenberger became the honorary Co-Chairmen of the Experimental Aircraft Association (EAA)'s Young Eagles program, that utilizes EAA's nationwide network of local chapters to offer free airplane rides to young people and expose them to general aviation and careers in aviation. EAA volunteers have performed over 2.2 million flights since the program's inception.\n\nSkiles is a writer and since 2011 has published over 100 articles on safety and general interest aviation topics in nationally distributed magazines such as Sport Aviation, Flying, Air & Space, PilotMag, Midwest Flyer, Vintage Airplane, and the Physicians Executive Journal.\n\nIn the 2016 drama film Sully, directed by Clint Eastwood, Skiles is portrayed by Aaron Eckhart and Sullenberger by Tom Hanks.\n\n, Skiles was working for American Airlines, piloting Boeing 787 Dreamliners.\n\nReferences\n\n1959 births\nLiving people\nCommercial aviators\nAviators from Wisconsin\nPeople from Oregon, Wisconsin\nUS Airways Group\nAmerican Airlines people\nExperimental Aircraft Association", "On January 15, 2009, US Airways Flight 1549, an Airbus A320 on a flight from New York City's LaGuardia Airport to Charlotte, North Carolina, struck a flock of birds shortly after take-off, losing all engine power. Unable to reach any airport for an emergency landing due to their low altitude, pilots Chesley \"Sully\" Sullenberger and Jeffrey Skiles glided the plane to a ditching in the Hudson River off Midtown Manhattan. All 155 people on board were rescued by nearby boats, with only a few serious injuries.\n\nThis water landing of a powerless jetliner with no deaths became known as the Miracle on the Hudson, and a National Transportation Safety Board official described it as \"the most successful ditching in aviation history\". The Board rejected the notion that the pilot could have avoided ditching by returning to LaGuardia or diverting to nearby Teterboro Airport.\n\nThe pilots and flight attendants were awarded the Master's Medal of the Guild of Air Pilots and Air Navigators in recognition of their \"heroic and unique aviation achievement\". It was dramatized in the 2016 film Sully, starring Tom Hanks as Sullenberger.\n\nBackground\n\nOn January 15, 2009, US Airways Flight 1549 with call sign 'Cactus 1549' was scheduled to fly from New York City's LaGuardia Airport (LGA) to Charlotte Douglas International Airport (CLT) in Charlotte, North Carolina, with direct onward service to Seattle–Tacoma International Airport.\nThe aircraft was an Airbus A320-214 powered by two GE Aviation/Snecma-designed CFM56-5B4/P turbofan engines.\n\nThe captain and pilot in command was 57-year-old Chesley 'Sully' Sullenberger, a former fighter pilot who had been an airline pilot since leaving the United States Air Force in 1980. At the time, he had logged 19,663 total flight hours, including 4,765 in an A320; he was also a glider pilot and expert on aviation safety. First officer Jeffrey Skiles, 49, had accrued 20,727 career flight hours with 37 in an A320, but this was his first A320 assignment as pilot flying. There were 150 passengers and three flight attendants on board.\n\nAccident\n\nTakeoff and bird strike\n\nThe flight was cleared for takeoff to the northeast from LaGuardia's Runway 4 at 3:24:56 pm Eastern Standard Time (20:24:56 UTC). With Skiles in control, the crew made its first report after becoming airborne at 3:25:51 as being at and climbing.\n\nThe weather at 2:51 p.m. was visibility with broken clouds at , wind from 290°; an hour later it was few clouds at , wind from 310°. At 3:26:37 Sullenberger remarked to Skiles: \"What a view of the Hudson today.\"\n\nAt 3:27:11 during climbout, the plane struck a flock of Canada geese at an altitude of about north-northwest of LaGuardia. The pilots' view was filled with the large birds; passengers and crew heard very loud bangs and saw flames from the engines, followed by silence and an odor of fuel.\n \nRealizing that both engines had shut down, Sullenberger took control while Skiles worked the checklist for engine restart. The aircraft slowed but continued to climb for a further 19 seconds, reaching about at an airspeed of about , then began a glide descent, accelerating to at 3:28:10 as it descended through .\n\nAt 3:27:33, Sullenberger radioed a mayday call to New York Terminal Radar Approach Control (TRACON): \"... this is Cactus fifteen thirty nine [siccorrect call sign was Cactus 1549], hit birds. We've lost thrust on both engines. We're turning back towards LaGuardia\". Air traffic controller Patrick Harten told LaGuardia's tower to hold all departures, and directed Sullenberger back to Runway 31. Sullenberger responded, \"Unable\".\n\nSullenberger asked controllers for landing options in New Jersey, mentioning Teterboro Airport. Permission was given for Teterboro's Runway 1, Sullenberger initially responded \"Yes\", but then: \"We can't do it ... We're gonna be in the Hudson\". The aircraft passed less than above the George Washington Bridge. Sullenberger commanded over the cabin address system to \"brace for impact\" and the flight attendants relayed the command to passengers. Meanwhile, air traffic controllers asked the Coast Guard to caution vessels in the Hudson and ask them to prepare to assist with rescue.\n\nDitching and evacuation\n\nAbout ninety seconds later, at 3:31 pm, the plane made an unpowered ditching, descending southwards at about into the middle of the North River section of the Hudson tidal estuary, at \t on the New York side of the state line, roughly opposite West 50th Street (near the Intrepid Sea, Air & Space Museum) in Manhattan and Port Imperial in Weehawken, New Jersey. Flight attendants compared the ditching to a \"hard landing\" with \"one impact, no bounce, then a gradual deceleration\". The ebb tide then began to take the plane southward.\n\nSullenberger opened the cockpit door and gave the order to evacuate. The crew began evacuating the passengers through the four overwing window exits and into an inflatable slide/raft deployed from the front right passenger door (the front left slide failed to operate, so the manual inflation handle was pulled). The evacuation was made more difficult by the fact that someone opened the rear left door, allowing more water to enter the plane; whether this was a flight attendant or a passenger is disputed. Water was also entering through a hole in the fuselage and through cargo doors that had come open, so as the water rose the attendant urged passengers to move forward by climbing over seats. One passenger was in a wheelchair. Finally, Sullenberger walked the cabin twice to confirm it was empty.\n\nThe air and water temperatures were about and , respectively. Some evacuees waited for rescue knee-deep in water on the partially submerged slides, some wearing life vests. Others stood on the wings or, fearing an explosion, swam away from the plane. One passenger, after helping with the evacuation, found the wing so crowded that he jumped into the river and swam to a boat.\n\nRescue\n\nSullenberger had deliberately ditched the airliner near boats in order to facilitate rescue. Two NY Waterway ferries arrived within minutes and began taking people aboard using a Jason's cradle; numerous other boats, including from the US Coast Guard, were quickly on scene as well. Sullenberger advised the ferry crews to rescue those on the wings first, as they were in more jeopardy than those on the slides, which detached to become life rafts. The last person was taken from the plane at 3:55 pm.\n\nAbout 140 New York City firefighters responded to nearby docks, as did police, helicopters, and various vessels and divers. Other agencies provided medical help on the Weehawken side of the river, where most passengers were taken.\n\nAftermath\n\nPassengers and crew sustained 95 minor and 5 serious injuries, including a deep laceration in the leg of one of the flight attendants. Seventy-eight people received medical treatment, mostly for minor injuries and hypothermia; twenty-four passengers and two rescuers were treated at hospitals, with two passengers kept overnight. One passenger now wears glasses because of eye damage from jet fuel. No pets were being carried on the flight.\n\nEach passenger later received a letter of apology, $5,000 in compensation for lost baggage (and $5,000 more if they could demonstrate larger losses), and refund of their ticket price. In May 2009, they received any belongings that had been recovered. Passengers also reported offers of $10,000 each in return for agreeing not to sue US Airways.\n\nMany passengers and rescuers later experienced post-traumatic stress symptoms such as sleeplessness, flashbacks, and panic attacks; some began an email support group. Patrick Harten, the controller who had worked the flight, said that \"the hardest, most traumatic part of the entire event was when it was over\", and that he was \"gripped by raw moments of shock and grief\".\n\nIn an effort to prevent similar accidents, officials captured and gassed 1,235 Canada geese at 17 locations across New York City in mid-2009 and coated 1,739 goose eggs with oil to smother the developing goslings.\nAs of 2017, 70,000 birds have been intentionally killed in NYC as a result of the Hudson ditching.\n\nN106US, the accident aircraft, was purchased by the Carolinas Aviation Museum in Charlotte, North Carolina, where it (and the plane's engines) were put on display.\n\nInvestigation\n\nThe partially submerged plane was towed downstream and moored to a pier near the World Financial Center in Lower Manhattan, roughly from the ditching location. On January 17 the aircraft was taken by barge to New Jersey. The left engine, which had been detached from the aircraft by the ditching, was recovered from the riverbed on January 23.\n\nThe initial National Transportation Safety Board (NTSB) evaluation that the plane had lost thrust after a bird strike was confirmed by analysis of the cockpit voice and flight data recorders.\n\nIt was found in the investigation that two days prior to the accident the aircraft had experienced a compressor stall on the right engine, but the engine had restarted and the flight completed. A faulty temperature sensor was found to be the cause of the compressor stall. This sensor had been replaced and the inspection also verified the engine had not been damaged in that incident.\n\nOn January 21, the NTSB found evidence of damage from a soft-body impact in the right engine along with organic debris including a feather. The left engine also evidenced soft body impact, with \"dents on both the spinner and inlet lip of the engine cowling. Five booster inlet guide vanes are fractured and eight outlet guide vanes are missing.\" Both engines, missing large portions of their housings, were sent to the manufacturer for examination. On January 31, the plane was moved to Kearny, New Jersey. The bird remains were later identified by DNA testing to be Canada geese, which typically weigh more than engines are designed to withstand ingesting.\n\nSince the plane had been assembled in France, the European Aviation Safety Agency (EASA; the European counterpart of the FAA) and the Bureau of Enquiry and Analysis for Civil Aviation Safety (BEA; the French counterpart of the NTSB) joined the investigation, with technical assistance from Airbus and GE Aviation/Snecma, respectively the manufacturers of the airframe and the engines.\n\nThe NTSB used flight simulators to test the possibility that the flight could have returned safely to LaGuardia or diverted to Teterboro; only seven of the thirteen simulated returns to La Guardia succeeded, and only one of the two to Teterboro. Furthermore, the NTSB report called these simulations unrealistic: \"The immediate turn made by the pilots during the simulations did not reflect or account for real-world considerations, such as the time delay required to recognize the bird strike and decide on a course of action.\" A further simulation, in which a 35-second delay was inserted to allow for those, crashed. In testimony before the NTSB, Sullenberger maintained that there had been no time to bring the plane to any airport and that attempting to do so would likely have killed those onboard and more on the ground.\n\nThe Board ultimately ruled that Sullenberger had made the correct decision, reasoning that the checklist for dual-engine failure is designed for higher altitudes when pilots have more time to deal with the situation, and that while simulations showed that the plane might have just barely made it back to LaGuardia, those scenarios assumed an instant decision to do so, with no time allowed for assessing the situation.\n\nOn May 4, 2010, the NTSB issued its final report, which identified the probable cause as \"the ingestion of large birds into each engine, which resulted in an almost total loss of thrust in both engines\". The final report credited the outcome to four factors: good decision-making and teamwork by the cockpit crew (including decisions to immediately turn on the APU and to ditch in the Hudson); that the A320 is certified for extended overwater operation (and hence carried life vests and additional raft/slides) even though not required for that route; the performance of the flight crew during the evacuation; and the proximity of working vessels to the ditching site. Contributing factors were good visibility and fast response times from the ferry operators and emergency responders. The report made 34 recommendations, including that engines be tested for resistance to bird strikes at low speeds; development of checklists for dual-engine failures at low altitude, and changes to checklist design in general \"to minimize the risk of flight crewmembers becoming stuck in an inappropriate checklist or portion of a checklist\"; improved pilot training for water landings; provision of life vests on all flights regardless of route, and changes to the locations of vests and other emergency equipment; research into improved wildlife management, and technical innovations on aircraft, to reduce bird strikes; research into possible changes in passenger brace positions; and research into \"methods of overcoming passengers' inattention\" during preflight safety briefings.\n\nAuthor and pilot William Langewiesche asserted that insufficient credit was given to the A320's fly-by-wire design, by which the pilot uses a side-stick to make control inputs to the flight control computers. The computers then impose adjustments and limits of their own to keep the plane stable, which the pilot cannot override even in an emergency. This design allowed the pilots of Flight 1549 to concentrate on engine restart and deciding the course, without the burden of manually adjusting the glidepath to reduce the plane's rate of descent. However, Sullenberger said that these computer-imposed limits also prevented him from achieving the optimal landing flare for the ditching, which would have softened the impact.\n\nCrew awards and honors\n\nAn NTSB board member called the ditching \"the most successful... in aviation history. These people knew what they were supposed to do and they did it and as a result, no lives were lost.\"\nNew York State Governor David Paterson called the incident \"a Miracle on the Hudson\". U.S. President George W. Bush said he was \"inspired by the skill and heroism of the flight crew,\" and praised the emergency responders and volunteers. President-elect Barack Obama said that everyone was proud of Sullenberger's \"heroic and graceful job in landing the damaged aircraft\". He thanked the crew, whom he invited to his inauguration five days later.\n\nThe Guild of Air Pilots and Air Navigators awarded the crew the rarely bestowed Master's Medal on January 22, 2009, for outstanding aviation achievement, at the discretion of the Master of the Guild. New York City Mayor Michael Bloomberg presented the crew with the Keys to the City, and Sullenberger with a replacement copy of a library book lost on the flight, Sidney Dekker's Just Culture: Balancing Safety and Accountability. Rescuers received Certificates of Honor.\n\nThe crew received a standing ovation at the Super Bowl XLIII on February 1, 2009, and Sullenberger threw the ceremonial first pitch of the 2009 Major League Baseball season for the San Francisco Giants. His Giants jersey was inscribed with the name \"Sully\" and the number 155the count of people aboard the plane.\n\nOn July 28, passengers Dave Sanderson and Barry Leonard organized a thank-you luncheon for emergency responders from Hudson County, New Jersey, on the shores of Palisades Medical Center in North Bergen, New Jersey, where 57 passengers had been brought following their rescue. Present were members of the U.S. Coast Guard, North Hudson Regional Fire and Rescue, NY Waterway Ferries, the American Red Cross, Weehawken Volunteer First Aid, the Weehawken Police Department, West New York E.M.S., North Bergen E.M.S., the Hudson County Office of Emergency Management, the New Jersey E.M.S. Task Force, the Guttenberg Police Department, McCabe Ambulance, the Harrison Police Department, and doctors and nurses who treated survivors.\n\nSullenberger was named Grand Marshal for the 2010 Tournament of Roses Parade in Pasadena, California.\n\nIn August 2010, aeronautical chart publisher Jeppesen issued a humorous approach plate titled \"Hudson Miracle APCH,\" dedicated to the five crew of Flight 1549 and annotated \"Presented with Pride and Gratitude from your friends at Jeppesen\".\n\nSullenberger retired on March 3, 2010, after thirty years with US Airways and its predecessor, Pacific Southwest Airlines. At the end of his final flight he was reunited with Skiles and a number of the passengers from Flight 1549.\n\nIn 2013, the entire crew was inducted into the International Air & Space Hall of Fame at the San Diego Air & Space Museum.\n\nMedia\n\nSullenberger's 2009 memoir, Highest Duty: My Search for What Really Matters, was adapted into the feature film Sully, directed by Clint Eastwood. It starred Tom Hanks as Sullenberger and Aaron Eckhart as co-pilot Jeff Skiles. It was released by Warner Bros. on September 9, 2016.\n\nSee also \n List of airline flights that required gliding\n Aeroflot Flight 366, 21 August 1963, another aviation accident involving a ditching into a river\n Ural Airlines Flight 178\n2009 Makhachkala Il-76 collision, 15 January 2009, another accident which occurred in the same date\n\nNotes\n\nReferences\n\nExternal links\n\nNational Transportation Safety Board \nAccident Report\nInvestigation docket\n\nOther links\n\n Twitter Moment - Sullenberger's recollections, ten years on\n\nAccidents and incidents involving the Airbus A320\nAirliner accidents and incidents caused by bird strikes\nAirliner accidents and incidents in New Jersey\nAirliner accidents and incidents in New York City\nAirliner accidents and incidents involving ditching\nAviation accidents and incidents in the United States in 2009\nAviation accidents and incidents in 2009\nHudson River\n1549\n2009 in New Jersey\n2009 in New York (state)\nArticles containing video clips\nJanuary 2009 events in the United States\nWeehawken, New Jersey" ]
[ "Chesley Sullenberger", "Civil aviation career", "What kind of jobs did Sullenberger have in aviation?", "founder and CEO of Safety Reliability Methods, Inc.", "When did Sullenberger found Safety Reliability Methods?", "2007,", "What kind of company was Safety Reliability Methods?", "firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability.", "Does Sullenberger still work for the company?", "I don't know.", "Did Sullenberger have any other jobs in his civil aviation career?", "He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member.", "When did Sullenberger serve as an instructor?", "I don't know." ]	C_d59714f9d159469bb8f522196874a2e0_0	Are there any other interesting aspects about this article?	7	In addition to Sullenberger's career, are there any other interesting aspects about this article?	Chesley Sullenberger	Sullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an Airline Transport Pilot Certificate for single and multi-engine airplanes, and a Commercial Pilot Certificate rating in gliders, as well as a flight instructor certificate for airplanes (single, multi-engine, and instrument), and gliders. In total, he has more than 40 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability. He has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration Advisory Circular. He was instrumental in developing and implementing the Crew Resource Management course that is used by US Airways, and he has taught the course to hundreds of airline crew members. Working with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which "led to improved airline procedures and training for emergency evacuations of aircraft". Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis. Sullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association. He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007. CANNOTANSWER	He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations		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", "This article is about the demographic features of the population of Saint Mary's, including population density, internet access, crime rate, and other aspects of the population.\n\nPopulation \nAccording to the 2011 census the population of Saint Mary was 7,341.\n\nOther demographics statistics (2011)\n\nCensus Data (2011)\n\nIndividual\n\nHousehold \nThere are 2,512 households in Saint Mary Parish.\n\nSee also\nDemographics of Antigua and Barbuda\n\nReferences\n\nAntigua and Barbuda Christians\nDemographics of Antigua and Barbuda" ]
[ "Chesley Sullenberger", "Civil aviation career", "What kind of jobs did Sullenberger have in aviation?", "founder and CEO of Safety Reliability Methods, Inc.", "When did Sullenberger found Safety Reliability Methods?", "2007,", "What kind of company was Safety Reliability Methods?", "firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability.", "Does Sullenberger still work for the company?", "I don't know.", "Did Sullenberger have any other jobs in his civil aviation career?", "He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member.", "When did Sullenberger serve as an instructor?", "I don't know.", "Are there any other interesting aspects about this article?", "He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations" ]	C_d59714f9d159469bb8f522196874a2e0_0	When was he a featured speaker?	8	When was Sullenberger a featured speaker?	Chesley Sullenberger	Sullenberger was employed by US Airways and its predecessor airlines from 1980 until 2010. (Pacific Southwest Airlines was acquired by US Air, later US Airways, in 1988.) He holds an Airline Transport Pilot Certificate for single and multi-engine airplanes, and a Commercial Pilot Certificate rating in gliders, as well as a flight instructor certificate for airplanes (single, multi-engine, and instrument), and gliders. In total, he has more than 40 years and 20,000 hours of flying experience. In 2007, he became the founder and CEO of Safety Reliability Methods, Inc. (SRM), a firm providing strategic and tactical guidance to enhance organizational safety, performance, and reliability. He has also been involved in a number of accident investigations conducted by the USAF and the National Transportation Safety Board (NTSB), such as Pacific Southwest Airlines Flight 1771 and USAir Flight 1493. He served as an instructor, Air Line Pilots Association Local Air Safety Chairman, accident investigator, and national technical committee member. His safety work for ALPA led to the development of a Federal Aviation Administration Advisory Circular. He was instrumental in developing and implementing the Crew Resource Management course that is used by US Airways, and he has taught the course to hundreds of airline crew members. Working with NASA scientists, he coauthored a paper on error-inducing contexts in aviation. He was an air accident investigator for an NTSB inquiry into a major accident at Los Angeles International Airport, which "led to improved airline procedures and training for emergency evacuations of aircraft". Sullenberger has also been studying the psychology behind keeping an airline crew functioning during a crisis. Sullenberger was active with his union, serving as chairman of a safety committee within the Air Line Pilots Association. He was a featured speaker for two panels, one on aviation and one on patient safety in medicine, at the High Reliability Organizations (HRO) 2007 International Conference in Deauville, France, from May 29 to 31, 2007. CANNOTANSWER	from May 29 to 31, 2007.		false	[ "Ingeborg Cathrine Hansen (17 February 1886 – 5 August 1954) was a Danish lawyer and politician of the Social Democratic Party. Elected speaker of the Landsting in 1950, she was the first female speaker in Denmark when its Parliament was bicameral.\n\nHansen was born in Copenhagen. She was a member of the Landsting (the upper chamber of Parliament) from 1936. When K.K. Steincke was appointed minister of justice in 1950, she was elected speaker of the Landsting. In 1951 Steincke returned as speaker, but when he exited the Landsting again in 1952, she was again elected speaker. As such she was the last speaker of the Landsting until its abolition with the constitution of 1953.\n\nIngeborg Hansen, as the only member in both chambers of Parliament, voted against the reinstitution of the death penalty with retroactive force in the Danish purge after World War II. She died in Vedbæk, aged 68.\n\nReferences\n Ingeborg Hansen, Biographical Encyclopedia of Danish Women, KVINFO (in Danish)\nImages of Ingeborg Hansen, Danish Royal Library\n\n1886 births\n1954 deaths\nDanish lawyers\nDanish women lawyers\nAnti–death penalty activists\nSocial Democrats (Denmark) politicians\nSpeakers of the Landsting (Denmark)\n20th-century lawyers", "Brad Long (born June 14, 1962) is an American motivational speaker, former actor, and former college athlete.\n\nEducation \nLong played college basketball for the Southwestern Moundbuilders. Long graduated from Southwestern College in 1985, where he earned a Bachelor of Business Administration.\n\nCareer \nLong is best known for his role in the 1986 film Hoosiers, where he portrayed the character of basketball team captain \"Buddy\" Walker. Long did not pursue a career in acting after Hoosiers, and later became a motivational speaker. Long is also a church deacon. Long was featured in the May 2004 issue of Indianapolis Monthly after it was believed that he had appeared in an erotic B-movie called Exit. It was later discovered that the actor in the film was another Brad Long.\n\nLong has toured the country as a speaker, visiting schools and sports teams. Long has also been featured on The Dan Patrick Show and WROK-AM.\n\nLong now works as a sales representative for Jostens.\n\nPersonal life \nLong and his wife, Lisa, reside in Whiteland, Indiana. He has two children, Shelby and Landry.\n\nReferences\n\nExternal links\n \n\nLiving people\nSouthwestern Moundbuilders men's basketball players\nAmerican male film actors\n20th-century American male actors\nAmerican men's basketball players\n1962 births", "Bashe Mohamed Farah () is a Somali politician who was the speaker of the House of Representatives of Somaliland.\n\nCareer \nFarah began his political career in 2005 when he was elected to Somaliland's House of Representatives as a member for the Sool region. He then was appointed deputy speaker in 2012, and served in that capacity until 2017 when he was elected Speaker of the House after the resignation of his predecessor, Abdirahman Mohamed Abdullahi.\n\nReferences \n\nSomaliland politicians\nPeople from Las Anod\nSpeakers of the House of Representatives (Somaliland)\nLiving people\nYear of birth missing (living people)" ]
[ "Richard Strauss", "Early life and family" ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	Where was Strauss born?	1	Where was Richard Strauss born?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	in Munich,	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	true	[ "David Stern (1820–1875) was a German-born American businessman who helped to found Levi Strauss & Co. with his brother-in-law Levi Strauss.\n\nBiography\nDavid Stern was born to a Jewish family in Bavaria in 1820. In the 1840s, he immigrated to the United States first to New York then the American South and finally to San Francisco in 1853 or 1855 where he was later joined by his brother-in-law Levi Strauss. Strauss had been sent to San Francisco - which was booming due to the gold rush - to scout out a larger location for the family merchandising company. In 1858, he was listed as a co-owner of the company under the name Strauss, Levi (David Stern & Lewis Strauss) importers clothing in the San Francisco Directory where Stern served as its manager and Strauss as its sales manager. In 1860, the company was renamed as Levi Strauss & Co. In 1873, the company received the patent for its jeans, the first to use metal rivets on workpants made with denim cloth.\n\nPersonal life\nIn 1850, he married Fanny Strauss, the sister of Levi Strauss in New York. They had 8 children: Jacob and Caroline (both born in New York); and Henry, Sigmund, Louis, Harriet \"Hattie\", Abraham, and Lillian (all born in San Francisco). He was a member of the Eureka Benevolent Society (later the Jewish Family Service) and Congregation Emanu-El. Two of his sons married sisters, the daughters of Lazard Frères head Marc Eugene Meyer: his son, Sigmund Stern, married Rosalie Meyer; and his son Abraham Stern, married, Elise Meyer. Sigmund's only child, Elise, married Walter A. Haas, the son of Abraham Haas, whose descendants are the current owners of Levi Strauss & Co.\n\nDavid Stern died in 1875 in San Francisco. The company incorporated in 1890 with Levi Strauss as President, Jacob Stern as First Vice President, Sigmund Stern as Second Vice President, Louis Stern as Treasurer, and Abraham Stern as Secretary. After the death of Levi Strauss in 1902 - who had no children - Stern's sons took over ownership of the company. The Sigmund Stern Recreation Grove is named for his son.\n\nReferences\n\n1820 births\n1875 deaths\n19th-century German Jews\nBavarian emigrants to the United States\nBusinesspeople from San Francisco\n19th-century American businesspeople", "Levi Strauss (; born Löb Strauß, ; February 26, 1829 – September 26, 1902) was a German-born American businessman who founded the first company to manufacture blue jeans. His firm of Levi Strauss & Co. (Levi's) began in 1853 in San Francisco, California.\n\nEarly life\n\nLevi Strauss was born in an Ashkenazi Jewish family in Buttenheim on February 26, 1829, in the Franconia region of the Kingdom of Bavaria in the German Confederation. He was the son of Hirsch Strauss and his second wife Rebecca Strauss (née Haas).\n\nIn 1847, aged 18, Strauss travelled with his mother and two sisters to the United States to join his brothers Jonas and Louis, who had begun a wholesale dry goods business in New York City called J. Strauss Brother & Co., at 108 Liberty Street in Manhattan. After arriving in New York, Strauss worked as an itinerant peddler of goods from his brother's store: kettles, blankets and sewing goods.\n\nBusiness career\nLevi's sister Fanny and her husband David Stern moved to St. Louis, Missouri, while Levi went to live in Louisville, Kentucky, and sold his brothers' supplies there. Levi became an American citizen in January 1853.\n\nThe family decided to open a West Coast branch of their dry goods business in San Francisco, which was the commercial hub of the California Gold Rush. Levi was chosen to represent them, and he took a steamship for San Francisco, where he arrived in early March 1854 and joined his sister's family.\n\nStrauss opened his wholesale business as Levi Strauss & Co. and imported fine dry goods from his brothers in New York, including clothing, bedding, combs, purses, and handkerchiefs. He made tents and later jeans while he lived with Fanny's growing family. Jacob W. Davis was one of his customers and the inventor of riveted denim pants, and in 1871, he went into business with Strauss to produce blue jeans. The two men patented the new style of work pants in 1873.\n\nDeath\nLevi Strauss died on September 26, 1902, and was buried in the Home of Peace Cemetery in Colma, California. He left his company to his four nephews, Jacob, Sigmund, Louis, and Abraham Stern, the sons of his sister Fanny and her husband David Stern. His estate was worth about $6 million ().\n\nLegacy\nLevi Strauss, a member of the Reform branch of Judaism, helped establish Congregation Emanu-El, the first Jewish synagogue in the city of San Francisco. He also gave money to several charities, including special funds for orphans. The Levi Strauss Foundation started with an 1897 donation to the University of California, Berkeley, that provided the funds for 28 scholarships.\n\nThe Levi Strauss museum is located in the 1687 house where Strauss was born Buttenheim, Germany. There is also a visitors center at Levi Strauss & Co. headquarters in San Francisco, which features historical exhibits.\n\nIn 1994, he was inducted into the Hall of Great Westerners of the National Cowboy & Western Heritage Museum.\n\nReferences\n\nExternal links\n\n Biography of Levi Strauss from the Official Levi Strauss Site.\n \n Levi Strauss Museum in Buttenheim, Germany \n\n1829 births\n1902 deaths\n19th-century American businesspeople\n19th-century American inventors\nAmerican businesspeople in retailing\nAmerican company founders\nAmerican people of German-Jewish descent\nAmerican manufacturing businesspeople\nBusinesspeople from San Francisco\nBusinesspeople from New York City\nGerman Ashkenazi Jews\nGerman emigrants to the United States\nPeople from Bamberg (district)\nPeople of the California Gold Rush\nBrand founders\nJeans\nManufacturing company founders\nRetail company founders\n \nBurials at Home of Peace Cemetery (Colma, California)" ]
[ "Richard Strauss", "Early life and family", "Where was Strauss born?", "in Munich," ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	Who were his parents?	2	Who were Richard Strauss's parents?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	the son of Josephine (nee Pschorr) and Franz Strauss,	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	false	[ "The Extraordinary Tale of Nicholas Pierce is a 2011 adventure novel written by Alexander DeLuca. It follows the journey of a university teacher Nicholas Pierce, who suffers from obsessive compulsive disorder as he searches for his biological parents, traveling across states in the United States of America. He travels with a friend, who is an eccentric barista in a cafe in upstate New York, named Sergei Tarasov.\n\nPlot\nNicholas Pierce suffers from OCD. He is also missing the memory of the first five years of his life. Raised by adoptive parents, one day he receives a mysterious box from an \"Uncle Nathan\". Curious, he sets off on a journey to find his biological parents with a Russian friend, Sergei Tarasov. On the trip, they meet several people, face money problems and different challenges. They also pick up a hitchhiker, Jessica, who later turns out to be a criminal.\n\nFinally, Nicholas finds his grandparents, who direct him to his biological parents. When he meets them, he finds out that his vaguely registered biological 'parents' were actually neighbors of his real parents who had died in an accident. The mysterious box that he had received is destroyed. He finds out that it contained photographs from his early life.\n\n2011 American novels\nNovels about obsessive–compulsive disorder", "Bomba and the Jungle Girl is a 1952 adventure film directed by Ford Beebe and starring Johnny Sheffield. It is the eighth film (of 12) in the Bomba, the Jungle Boy film series.\n\nPlot\nBomba decides to find out who his parents were. He starts with Cody Casson's diary and follows the trail to a native village. An ancient blind woman tells him his parents, along the village's true ruler, were murdered by the current chieftain and his daughter. With the aid of an inspector and his daughter, Bomba battles the usurpers in the cave where his parents were buried.\n\nCast\nJohnny Sheffield\nKaren Sharpe\nWalter Sande\nSuzette Harbin\nMartin Wilkins\nMorris Buchanan\nLeonard Mudie\nDon Blackman.\n\nReferences\n\nExternal links\n\n1952 films\nAmerican films\nAmerican adventure films\nFilms directed by Ford Beebe\nFilms produced by Walter Mirisch\nMonogram Pictures films\n1952 adventure films\nAmerican black-and-white films" ]
[ "Richard Strauss", "Early life and family", "Where was Strauss born?", "in Munich,", "Who were his parents?", "the son of Josephine (nee Pschorr) and Franz Strauss," ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	Did he go to school?	3	Did Richard Strauss go to school?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	The same year he entered Ludwig Maximilian University of Munich,	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	true	[ "California Concordia College existed in Oakland, California, United States from 1906 until 1973.\n\nAmong the presidents of California Concordia College was Johann Theodore Gotthold Brohm Jr.\n\nCalifornia Concordia College and the Academy of California College were located at 2365 Camden Street, Oakland, California. Some of the school buildings still exist at this location, but older buildings that housed the earlier classrooms and later the dormitories are gone. The site is now the location of the Spectrum Center Camden Campus, a provider of special education services.\n\nThe \"Academy\" was the official name for the high school. California Concordia was a six-year institution patterned after the German gymnasium. This provided four years of high school, plus two years of junior college. Years in the school took their names from Latin numbers and referred to the years to go before graduation. The classes were named:\n\n Sexta - 6 years to go; high school freshman\n Qunita - 5 years to go; high school sophomore\n Quarta - 4 years to go; high school junior\n Tertia - 3 years to go; high school senior\n Secunda - 2 years to go; college freshman\n Prima - 1 year to go; college sophomore\n\nThose in Sexta were usually hazed in a mild way by upperclassmen. In addition, those in Sexta were required to do a certain amount of clean-up work around the school, such as picking up trash.\n\nMost students, even high school freshmen, lived in dormitories. High school students were supervised by \"proctors\" (selected high school seniors in Tertia). High school students were required to study for two hours each night in their study rooms from 7:00 to 9:00 pm. Students could not leave their rooms for any reason without permission. This requirement came as quite a shock to those in Sexta (freshmen) on their first night, when they were caught and scolded by a proctor when they left their study room to go to the bathroom without permission. Seniors (those in Tertia) were allowed one night off where they did not need to be in their study hall.\n\nFrom 9:00 to 9:30 pm all students gathered for a chapel service. From 9:30 to 10 pm, high school students were free to roam, and sometimes went to the local Lucky Supermarket to purchase snacks. All high school students were required to be in bed with lights out by 10:00 pm. There were generally five students in each dormitory room. The room had two sections: a bedroom area and (across the hallway) another room for studying. Four beds, including at least one bunk bed, were in the bedroom, and four or five desks were in the study room\n\nA few interesting words used by Concordia students were \"fink\" and \"rack.\" To \"fink\" meant to \"sing like a canary\" or \"squeal.\" A student who finked told everything he knew about a misbehavior committed by another student. \"Rack\" was actually an official term used by proctors and administrators who lived on campus in the dormitories with students. When students misbehaved they were racked (punished). Proctors held a meeting once a week and decided which students, if any, deserved to be racked. If a student were racked, he might be forbidden from leaving the campus grounds, even during normal free time School hours were from 7:30 am to 3:30 pm. After 3:30 pm and until 7:00 pm, students could normally explore the local area surrounding the school, for example, to go to a local store to buy a snack. However, if a student were racked for the week, he could not do so.\n\nProctors made their rounds in the morning to make sure beds were made and inspected rooms in the evening to ensure that students were in bed by 10:00 pm. Often after the proctors left a room at night, the room lights would go back on and students enjoyed studying their National Geographic magazines. Student might be racked if they failed to make their beds or did not make them neatly enough.\n\nAlthough California Concordia College no longer exists, it does receive some recognition by Concordia University Irvine. This is also the location of its old academic records.\n\nSources\n\nExternal links \n Photos of old campus\n\nEducational institutions disestablished in 1973\nDefunct private universities and colleges in California\nEducational institutions established in 1906\n1906 establishments in California\n1973 disestablishments in California\nUniversities and colleges affiliated with the Lutheran Church–Missouri Synod", "Kyree Walker (born November 20, 2000) is an American professional basketball player for the Capital City Go-Go of the NBA G League. At the high school level, he played for Moreau Catholic High School in Hayward, California before transferring to Hillcrest Prep Academy. A former MaxPreps National Freshman of the Year, Walker was a five-star recruit.\n\nEarly life and high school career\nIn eighth grade, Walker drew national attention for his slam dunks in highlight videos. He often faced older competition, including high school seniors, in middle school with his Amateur Athletic Union (AAU) team Oakland Soldiers. As a high school freshman, Walker played basketball for Moreau Catholic High School in Hayward, California, averaging 21.3 points, 6.5 rebounds and four assists per game. After leading his team to a California Interscholastic Federation Division II runner-up finish, he was named MaxPreps National Freshman of the Year. Entering his sophomore season, Walker transferred to Hillcrest Prep, a basketball program in Phoenix, Arizona, with his father, Khari, joining the coaching staff. On October 25, 2019, during his senior year, he left Hillcrest Prep, intending to move to the college or professional level. In December 2019, Walker graduated from high school but did not play high school basketball while weighing his options.\n\nRecruiting\nOn June 30, 2017, Walker committed to play college basketball for Arizona State over several other NCAA Division I offers. At the time, he was considered a five-star recruit and a top five player in the 2020 class by major recruiting services. On October 21, 2018, Walker decommitted from Arizona State. On April 20, 2020, as a four-star recruit, he announced that he would forego college basketball.\n\nProfessional career\n\nCapital City Go-Go (2021–present)\nWalker joined Chameleon BX to prepare for the 2021 NBA draft. For the 2021-22 season, he signed with the Capital City Go-Go of the NBA G League, joining the team after a successful tryout.\n\nPersonal life\nIn 2018, Walker's mother, Barrissa Gardner, was diagnosed with breast cancer but achieved remission in the following months.\n\nReferences\n\n2000 births\nLiving people\n21st-century African-American sportspeople\nAfrican-American basketball players\nAmerican men's basketball players\nBasketball players from Oakland, California\nCapital City Go-Go players\nSmall forwards\nTwitch (service) streamers" ]
[ "Richard Strauss", "Early life and family", "Where was Strauss born?", "in Munich,", "Who were his parents?", "the son of Josephine (nee Pschorr) and Franz Strauss,", "Did he go to school?", "The same year he entered Ludwig Maximilian University of Munich," ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	Did he study anywhere else?	4	Did Richard Strauss study anywhere else, besides Ludwig Maximilian University of Munich?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	He left a year later to go to Berlin, where he studied briefly	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	true	[ "\"Be Someone Else\" is a song by Slimmy, released in 2010 as the lead single from his second studio album Be Someone Else. The single wasn't particularly successful, charting anywhere.\nA music video was also made for \"Be Someone Else\", produced by Riot Films. It premiered on 27 June 2010 on YouTube.\n\nBackground\n\"Be Someone Else\" was unveiled as the album's lead single. The song was written by Fernandes and produced by Quico Serrano and Mark J Turner. It was released to MySpace on 1 January 2010.\n\nMusic video\nA music video was also made for \"Be Someone Else\", produced by Riot Films. It premiered on 27 June 2010 on YouTube. The music video features two different scenes which alternate with each other many times during the video. The first scene features Slimmy performing the song with an electric guitar and the second scene features Slimmy performing with the band in the background.\n\nChart performance\nThe single wasn't particularly successful, charting anywhere.\n\nLive performances\n A Very Slimmy Tour\n Be Someone Else Tour\n\nTrack listing\n\nDigital single\n\"Be Someone Else\" (album version) - 3:22\n\nPersonnel\nTaken from the album's booklet.\n\nPaulo Fernandes – main vocals, guitar\nPaulo Garim – bass\nTó-Zé – drums\n\nRelease history\n\nCharts\n\nReferences\n\nExternal links\nOfficial music video at YouTube.\n\n2010 singles\nEnglish-language Portuguese songs\n2009 songs", "Grouvellina radama is a species of ground beetle in the subfamily Rhysodinae. It was described by R.T. & J.R. Bell in 1979.\nIt is native to Madagascar and it is unknown whether it lives anywhere else.\n\nReferences\n\nGrouvellina\nBeetles described in 1979" ]
[ "Richard Strauss", "Early life and family", "Where was Strauss born?", "in Munich,", "Who were his parents?", "the son of Josephine (nee Pschorr) and Franz Strauss,", "Did he go to school?", "The same year he entered Ludwig Maximilian University of Munich,", "Did he study anywhere else?", "He left a year later to go to Berlin, where he studied briefly" ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	How did he get involved with music?	5	How did Richard Strauss get involved with music?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	In his youth, he received a thorough musical education from his father.	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	false	[ "H-Logic is the fourth studio album by South Korean singer Lee Hyori. It was released on April 12, 2010. The album has 14 tracks, including collaborations with Daesung from Big Bang, Jiyoon from 4Minute, Bekah from After School, Gary from Leessang, and Sangchu from Mighty Mouth. The singer worked also with E-Tribe, the team behind \"U-Go-Girl\", the lead single from her previous album.\n\nFollowing the album’s release, seven tracks from the album was revealed to be plagiarized by Bahnus Vacuum. After the controversy, Lee took a temporary hiatus until 2013.\n\nThe album sold 31,756 copies in 2010, making it the 46th best-selling Korean album in 2010.\nThe promotions ended after the outputs of the two singles \"Bring It Back\" and \"How Did We Get\".\n\nRelease \nLee’s comeback made their return with their fourth studio album, the titled album was called H-Logic which would be shortly released on April 12, 2010, the album’s showcase would be in it.\n\nSingles\n\nSwing\nLee performed Swing in the music video as their first single with Gary of Leessang.\n\nBring It Back\nLee performed Bring it Back at the MBC Countdown as their second single with Bekah (formerly After School) & Jiyoon of former member of 4Minute.\n\nChitty Chitty Bang Bang\nThe music video was released on April 7, 2011, Lee performed her third single at the M Countdown and MBC.\n\nHow Did We Get\nLee performed the fourth single of How Did We Get live on You Hee-yeol's Sketchbook featuring Daesung of Big Bang.\n\nPlagiarism \n\nSeven of the songs in the album, which were produced by Bahnus, were plagiarized.\n\nTrack listing\n\nRelease history\n\nReferences\n\nExternal links \n H-Logic : buy it on iTunes\n\n2010 albums\nLee Hyori albums\nAlbums involved in plagiarism controversies", "\"Get Involved\" is a song by the American singer Ginuwine from his sixth studio album A Man's Thoughts (2009). The song was co-written by Missy Elliott and produced by Timbaland and featured guest vocals from the pair. Although the song was originally scheduled to be released in summer 2009 as the second single from the album, it was pushed back to 2010 as an international single from the album because of a dispute between Ginuwine and Timbaland.\n\nBackground\nIn 2007, when asked about who he would like to work with that would surprise people, Timbaland told Billboard, \"For personal reasons I'd like to work with Ginuwine.\" In November 2008, Ginuwine confirmed to the press that Timbaland would be featured on A Man's Thoughts.\n\nRelease and promotion\nThe song was first performed on 23 July 2009 on The Late Show with David Letterman. Ginuwine and Missy were the only performers from the song to appear; Timbaland was exempted. The song was officially released overseas as early as 29 January 2010. On 29 June 2010, a promotional CD release for the single was given a limited released in the United States. In 2011, a twelve-track E–single of the song was released in Spain. On 12 March 2012, the record label Smash The House released a digital three-track remix sampler exclusively via the online store Amazon.\n\nControversy\nAn initial dispute between Timbaland and Ginuwine dates back to October 2009, when Timbaland expressed disinterest in appearing in the \"Get Involved\" music video. In April 2010, Ginuwine told Vibe: \"He really hasn’t been interested in working with me, so I can’t speak on the present [...] The reason I'm pissed off at him now is because of what he did. I would've been cool and not bothered him if he would've said, 'Nah, I'm too busy,' or gave me the lame excuse like he's been giving me. But don't do it and then not do what you're supposed to do [to promote the song].\" Ginuwine later disclosed to the Atlanta radio station WAMJ that a settlement of over $50,000 was made for Timbaland to appear in the video. However, because of Timbaland's persistent disinterest, the single was shelved in the United States and was instead released overseas with an animated music video. In July 2011, Timbaland responded to Ginuwine's comments via BET.com, \"I know how he might feel. He might think that we abandoned him [...] We never would abandon him. He’s like a brother. But when you get everybody else, mix different managers... it changes every dynamic.\" Timbaland also added that he wanted to work with Ginuwine for the sake of their friendship and brotherhood. That same month, Ginuwine told MTV UK that he and Timbaland were cool and that they would converse at times via Twitter. He also added that a song with him, Missy and Timbaland would \"hopefully\" develop to show the \"magic\" they once had.\n\nFormats and track listings\n\n Australian iTunes single\n \"Get Involved\" (feat. Timbaland & Missy Elliott) — 3:37\n \"Get Involved\" (A Class Edit) — 3:00\n \"Get Involved\" (Marcus Knight Down South Remix) — 4:11\n \"Get Involved\" (N3sh & d'Aambrogio Remix) — 7:56\n \"Get Involved\" (Joe T Vanelii Remix) — 8:26\n \"Get Involved\" (Bernasconi & Farenthide Remix) — 5:16\n \"Get Involved\" (Rico Bernasconi Remix) — 5:34\n \"Get Involved\" (Jake & Cooper Mix) — 6:30\n\n European CD single\n \"Get Involved\" (A Class Edit) — 3:00\n \"Get Involved\" — 3:38\n\n Finnish Promo CDS\n \"Get Involved\" (Original Edit) — 3:41 \n \"Get Involved\" (A Class Video Edit) — 3:45 \n \"Get Involved\" (A Class Edit Mix) — 3:03 \n \"Get Involved\" (A Class Floor Mix) — 4:00 \n \"Get Involved\" (Bernasconi & Farenthide Remix) — 5:19 \n \"Get Involved\" (Rico Bernasconi Remix) — 5:36 \n \"Get Involved\" (Joe T Vannelli Remix) — 8:28 \n \"Get Involved\" (N3sh & D'Ambrogio Remix) — 7:58 \n \"Get Involved\" (Jake & Cooper Mix) — 6:31\n\n Italian 12\" vinyl\n \"Get Involved\" (Joe T Vannelli Remix) — 8:26\n \"Get Involved\" (Original Version) — 3:37\n \"Get Involved\" (N3sh & D'Ambrogio Remix) — 7:58\n \"Get Involved\" (Jake & Cooper Mix) — 6:30\n\n Italian CD single\n \"Get Involved\" (Original Version) — 3:40\n \"Get Involved\" (A-Class Video Mix) — 3:45\n \"Get Involved\" (Bernasconi & Farenthide Remix) — 5:19\n \"Get Involved\" (Joe T Vannelli Remix) — 8:28\n \"Get Involved\" (N3sh & D'Ambrogio Remix) — 7:58\n \"Get Involved\" (Jake & Cooper Mix) — 6:30\n\n Italian digital download\n \"Get Involved\" (Molella & Jerma Remix) — 6:32\n \"Get Involved\" (DJs from Mars Remix) — 5:57\n \"Get Involved\" (Paolo Aliberti & Francesco Andreoli) — 6:17\n \"Get Involved\" (Shorty Simosun Remix) — 7:12\n \"Get Involved\" (Mark & Shark Remix) — 4:39 \n \"Get Involved\" (Da Brozz Remix) — 4:36\n \"Get Involved\" (Andres Diamond Remix) — 5:37 \n \"Get Involved\" (Remakeit Remix) — 4:30\n\n Spanish E–single\n \"Get Involved\" (Kylian Mash Edit Re-Mix) — 3:14\n \"Get Involved\" — 3:38\n \"Get Involved\" (A Class Floor Mix) — 3:43\n \"Get Involved\" (A Class Video Mix) — 3:58\n \"Get Involved\" (Bernasconi & Farenthide Remix) — 5:16\n \"Get Involved\" (A Class Edit) — 3:00\n \"Get Involved\" (Dino Lenny & Taz Remix) — 6:13\n \"Get Involved\" (Jake & Cooper Mix) — 6:30\n \"Get Involved\" (Joe T Vanelii Remix) — 8:26\n \"Get Involved\" (Kylian Mash Extended Re-Mix) — 5:03\n \"Get Involved\" (N3sh & d'Aambrogio Remix) — 7:56\n \"Get Involved\" (Rico Bernasconi Remix) — 5:34\n\n UK Promo CDS\n \"Get Involved\" (Adam F & Herve's Stadium Kaos Vocal Remix)\n \"Get Involved\" (Adam F & Herve's Stadium Kaos Dub)\n\n US digital download\n \"Get Involved\" (Wolfpack Remix) — 5:15\n \"Get Involved\" (Yves V Remix) — 5:49\n \"Get Involved\" (Firebeatz Remix) — 6:35\n\nChart performance\n\"Get Involved\" was Ginuwine's first song in over six years to chart outside of the United States.\n\nRelease history\n\nReferences\n\n2009 songs\n2010 singles\nGinuwine songs\nMissy Elliott songs\nTimbaland songs\nSong recordings produced by Timbaland\nSongs written by Missy Elliott\nSongs written by Jerome \"J-Roc\" Harmon\nSong recordings produced by Jerome \"J-Roc\" Harmon\nSongs written by Ezekiel Lewis\nSongs written by Ginuwine\nSongs written by Patrick \"J. Que\" Smith\nSongs written by Timbaland" ]
[ "Richard Strauss", "Early life and family", "Where was Strauss born?", "in Munich,", "Who were his parents?", "the son of Josephine (nee Pschorr) and Franz Strauss,", "Did he go to school?", "The same year he entered Ludwig Maximilian University of Munich,", "Did he study anywhere else?", "He left a year later to go to Berlin, where he studied briefly", "How did he get involved with music?", "In his youth, he received a thorough musical education from his father." ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	Did he play an instrument?	6	Did Richard Strauss play an instrument?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	he started receiving violin instruction at the Royal School of Music from Benno Walter,	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	false	[ "An instrument driver, in the context of test and measurement (T&M) application development, is a set of software routines that simplifies remote instrument control. Instrument drivers are specified by the IVI Foundation and define an I/O abstraction layer using the virtual instrument software architecture (VISA). The VISA hardware abstraction layer provides an interface-independent communication channel to T&M instruments. Furthermore, the instrument drivers encapsulate the Standard Commands for Programmable Instruments (SCPI) commands, which are an ASCII-based set of commands for reading and writing instrument settings and measurement data. This standard allows an abstract way of using various programming languages to program remote-control applications instead of using SCPI commands. An instrument driver usually has a well-defined API.\n\nStandards\n\nVXIplug&play instrument driver\n\nThe VXIplug&play Systems Alliance was founded in 1993 with the aim of unifying VXI hardware and software to achieve 'plug and play' interoperability for VXI and GPIB instruments. As part of the unifying process, VXIplug&play instrument drivers were also defined.\n\nIVI instrument drivers\n\nWhen the IVI Foundation took over the Alliance in 2002, it defined a new generation of instrument drivers to replace the VXIplug&play standard. The IVI instrument driver specification intends to overcome the drawbacks of VXIplug&play. These IVI (Interchangeable Virtual Instrumentation) drivers are currently defined in three different architectures:\n\n The IVI-COM driver architecture is based on the Microsoft Component Object Model. \n The IVI-C drivers are based on C programming language shared components (shared libraries). \n The IVI.NET driver architecture was specified in 2010. The IVI.NET drivers are based on the .NET framework.\n\nRemote control of instrumentation\nInstrument drivers allow quicker development of remote-control applications for instrumentation. The drivers reduce the difficulty of string formatting when using SCPI commands by providing a well-defined API. The IVI and VXIplug&play Instrument Drivers use the VISA as the hardware abstraction layer so that hardware-independent applications can be developed.\n\nI/O hardware abstraction layer VISA\nThe VISA library allows test and measurement equipment to be connected through various hardware interfaces. The following interfaces are available:\n\n Serial Port\n GPIB/IEEE-488\n VXI-11 (over TCP/IP)\n USB488/USBTMC (USB Test & Measurement), USB Test & Measurement Class Specification\n HiSLIP (over TCP/IP).\n\nLXI\n\nThe LAN eXtensions for Instrumentation (LXI) standard defines the communications protocols for controlling test and measurement systems using Ethernet. The standard requires vendors to offer IVI compliant instrument drivers.\n\nSee also\n Instrument control\n Standard Commands for Programmable Instruments\n Automation\n IEEE-488\n VISA\n LabVIEW\n LabWindows\n Agilent VEE\n MATLAB\n LAN eXtensions for Instrumentation\n\nReferences\n\nExternal links \n IVI Foundation\n SCPI Consortium\n VXIplug&play Systems Alliance\n LXI Consortium\n Introduction to Attribute Based Instrument Drivers\n Development Hints and Best Practices for Using Instrument Drivers\n\nInput/output\nElectronic test equipment", "A ludeme is \"an element of play\" within a card game or board game, as distinct from an \"instrument of play\" which forms part of the equipment with which a game is played. An example of a ludeme is the L-shaped movement of a knight in chess, whereas the knight itself is an instrument of play.\n\nOrigin \nThe term was originally coined by French game writer Pierre Berloquin. Borvo, one of the first to use the term, defines it as a 'type rule' such as the method of trick-taking in a card game or the leap capture in a board game.\n\nSee also \n Game mechanics\n\nReferences \n\nBoard games\nCard game terminology" ]
[ "Richard Strauss", "Early life and family", "Where was Strauss born?", "in Munich,", "Who were his parents?", "the son of Josephine (nee Pschorr) and Franz Strauss,", "Did he go to school?", "The same year he entered Ludwig Maximilian University of Munich,", "Did he study anywhere else?", "He left a year later to go to Berlin, where he studied briefly", "How did he get involved with music?", "In his youth, he received a thorough musical education from his father.", "Did he play an instrument?", "he started receiving violin instruction at the Royal School of Music from Benno Walter," ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	Did he learn to play any other instruments?	7	Did Richard Strauss learn to play any other instruments, besides violin?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	playing a piano	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	true	[ "The panerusan instruments or elaborating instruments are one of the divisions of instruments used in Indonesian gamelan. Instead of the rhythmic structure provided by the colotomic instruments, and the core melody of the balungan instruments, the panerusan instruments play variations on the balungan. They are usually the most difficult instruments to learn in the gamelan, but provide the most opportunity for improvisation and creativity in the performer.\n\nPanerusan instruments include the gendér, suling, rebab, siter/celempung, bonang, and gambang. The female singer, the pesindhen, is also often included, as she sings in a similar fashion to the instrumental techniques. As these include the only wind instruments, string instruments, and wooden percussion instruments found in the gamelan, they provide a timbre which stands out from most of the gamelan.\n\nThe notes that the panerusan instruments play are largely in melodic formulas known as cengkok and sekaran. These are selected from a huge collection which every performer carries in his head, based on the patet, mood, and traditions surrounding a piece.\n\nSekaran\nSekaran (Javanese for \"flowering\") is a type of elaboration used in the Javanese gamelan, especially on the bonang barung.\n\nIt is similar to the cengkok of other elaborating instruments in its floridity and openness to improvisation, but a sekaran generally happens only at the end of a nongan or other colotomic division. It is usually preceded by imbal, an interlocking pattern between the bonang barung and the bonang panerus.\n\nDifferent sekaran are used in different pathet, but there are always a variety available. A good bonang player will choose a sekaran based on how the other instruments and the sindhen are improvising.\n\nTraditionally the bonang panerus did not play sekaran, and simply continued in the imbal pattern, but now some players use sekaran, as long as they maintain the fast character of typical bonang panerus parts.\n\nSee also\n\n Gamelan\n Slendro\n Pathet\n Cengkok\n Seleh\n Music of Indonesia\n Music of Java\n\nReferences\n\nGamelan instruments\nGamelan theory", "In Zimbabwean Shona music, a deze is a halved calabash gourd that an mbira is placed into to amplify its sound. It is typically round and has bottle caps, shells or other objects strung around its perimeter to vibrate with the mbira, creating a buzzing sound. Cracked deze frequently are repaired by wire stitching. Because of the size of the deze, audience members cannot see the mbira players' hands. Because of this, it is not uncommon for those who want to learn the mbira to play the hosho first, so that they can stand behind the players (in a traditional band) to see into deze and learn by observation. Modern deze are often constructed out of fiberglass and epoxy for increased durability. However, some mbira players, like Chartwell Dutiro, critique the use of fiberglass dezes in live performance. Dutiro says it compromises the resonance of the mbira and thus hinders communication with dza vadzimu (ancestral spirits).\n\nSee also\nHosho (instrument)\nShona music\nMusic of Africa\nMusic of Zimbabwe\n\nFurther reading\nBerliner, Paul. (1978). The Soul of Mbira: music and traditions of the Shona people of Zimbabwe. Berkeley : University of California Press.\nTracey, Andrew. (1970). How to play the mbira (dza vadzimu). Roodepoort, Transvaal, South Africa: International Library of African Music.\nTracey, Hugh. (1969). The Mbira class of African Instruments in Rhodesia (1932). African Music Society Journal, 4:3, 78-95.\n\nPercussion instruments\nZimbabwean musical instruments" ]
[ "Richard Strauss", "Early life and family", "Where was Strauss born?", "in Munich,", "Who were his parents?", "the son of Josephine (nee Pschorr) and Franz Strauss,", "Did he go to school?", "The same year he entered Ludwig Maximilian University of Munich,", "Did he study anywhere else?", "He left a year later to go to Berlin, where he studied briefly", "How did he get involved with music?", "In his youth, he received a thorough musical education from his father.", "Did he play an instrument?", "he started receiving violin instruction at the Royal School of Music from Benno Walter,", "Did he learn to play any other instruments?", "playing a piano" ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	Did he have a family of his own?	8	Did Richard Strauss have a family of his own?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	Strauss married soprano Pauline de Ahna	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	false	[ "John 1:11 is the eleventh verse in the first chapter of the Gospel of John in the New Testament of the Christian Bible.\n\nContent\nIn the original Greek according to Westcott-Hort for this verse is:\nΕἰς τὰ ἴδια ἦλθε, καὶ οἱ ἴδιοι αὐτὸν οὐ παρέλαβον. \n\nIn the King James Version of the Bible the text reads:\nHe came unto his own, and his own received him not.\n\nThe New International Version translates the passage as:\nHe came to that which was his own, but his own did not receive him.\n\nAnalysis\nMany believe \"His own,\" refers principally to the Jewish people. Jesus came to them as if to his family, but they did not accept him. However it may be extended to the Gentiles, \"who for a long time groaned in darkness, and seemed to wait for the light of justice,\" but also did not accept him. But the latter part of the verse seems to imply a few, of both Jews and Gentiles, embraced the faith.\n\nCommentary from the Church Fathers\nChrysostom: \"When He said that the world knew Him not, he referred to the times of the old dispensation, but what follows has reference to the time of his preaching; He came unto his own.\"\n\nAugustine: \"Because all things were made by Him.\"\n\nTheophylact of Ohrid: \" By his own, understand either the world, or Judæa, which He had chosen for His inheritance.\"\n\nChrysostom: \"He came then unto His own, not for His own good, but for the good of others. But whence did He Who fills all things, and is every where present, come? He came out of condescension to us, though in reality He had been in the world all along. But the world not seeing Him, because it knew Him not, He deigned to put on flesh. And this manifestation and condescension is called His advent. But the merciful God so contrives His dispensations, that we may shine forth in proportion to our goodness, and therefore He will not compel, but invites men, by persuasion and kindness, to come of their own accord: and so, when He came, some received Him, and others received Him not. He desires not an unwilling and forced service; for no one who comes unwillingly devotes himself wholly to Him. Whence what follows, And his own received him not. . He here calls the Jews His own, as being his peculiar people; as indeed are all men in some sense, being made by Him. And as above, to the shame of our common nature, he said, that the world which was made by Him, knew not its Maker: so here again, indignant at the ingratitude of the Jews, he brings a heavier charge, viz. that His own received Him not.\"\n\nReferences\n\nExternal links\nOther translations of John 1:11 at BibleHub\n\n01:11", "King Gong of Zhou ( or ), personal name Ji Yihu, was the sixth king of the Chinese Zhou Dynasty. Estimated dates of his reign are 922–900 BC or 917/15–900.\n\nBiography \nKing Gong of Zhou ascended to the throne in the year 922 BC after his father King Mu of Zhou departed. Unlike some of his ancestors, he dedicated to developing economy and increasing his exchequer, instead of expanding territory or conquering others through wars.\n\nAccording to one account carried by the Records of the Grand Historian, King Gong of Zhou once did initiate a war and destroyed the State of Mi. When he was touring in State of Mi, he saw three extremely beautiful women and commanded Mi's lord to find them out and send them to his own palace. But the lord of the state took the three extremely beautiful women as his own concubines, which irritated King Gong. So he invaded this state and sentenced that lord to death.\n\nAfter 15 years reign, he passed the throne to his son King Yì of Zhou and departed peacefully in his own palace.\n\nFamily\nQueens:\n Wang Gui, of the Gui clan ()\n\nSons:\n Crown Prince Jian (; 899–892 BC), ruled as King Yì of Zhou from 899–892 BC\n\nAncestry\n\nSee also\nFamily tree of ancient Chinese emperors\n\nSources \n\n900 BC deaths\nZhou dynasty kings\n10th-century BC Chinese monarchs\nYear of birth unknown" ]
[ "Richard Strauss", "Early life and family", "Where was Strauss born?", "in Munich,", "Who were his parents?", "the son of Josephine (nee Pschorr) and Franz Strauss,", "Did he go to school?", "The same year he entered Ludwig Maximilian University of Munich,", "Did he study anywhere else?", "He left a year later to go to Berlin, where he studied briefly", "How did he get involved with music?", "In his youth, he received a thorough musical education from his father.", "Did he play an instrument?", "he started receiving violin instruction at the Royal School of Music from Benno Walter,", "Did he learn to play any other instruments?", "playing a piano", "Did he have a family of his own?", "Strauss married soprano Pauline de Ahna" ]	C_7c17ed566e1e4e6fb94cc3b47acd4dd0_1	Did they have any children?	9	Did Richard Strauss and soprano Pauline de Ahna have any children?	Richard Strauss	Strauss was born on 11 June 1864 in Munich, the son of Josephine (nee Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death. During his boyhood Strauss attended orchestra rehearsals of the Munich Court Orchestra (now the Bavarian State Orchestra), where he received private instruction in music theory and orchestration from an assistant conductor. In 1872, he started receiving violin instruction at the Royal School of Music from Benno Walter, his father's cousin. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhauser. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. Nevertheless, Strauss's father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. In early 1882, in Vienna, he gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post as assistant conductor to Hans von Bulow, who had been enormously impressed by the young composer's Serenade for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bulow in rehearsal. Bulow was very fond of the young man, and decided that Strauss should be his successor as conductor of the Meiningen Court Orchestra when Bulow resigned in 1885. Strauss's compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His Horn Concerto No. 1, Op. 11, is representative of this period and is a staple of the modern horn repertoire. Strauss married soprano Pauline de Ahna on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. The Strausses had one son, Franz, in 1897. Franz married Alice von Grab-Hermannsworth, daughter of a Jewish industrialist, in a Roman Catholic ceremony in 1924. Franz and Alice had two sons, Richard and Christian. CANNOTANSWER	The Strausses had one son,	Richard Georg Strauss (; 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Life Early life and career (1864–1886) Strauss was born on 11 June 1864 in Munich, the son of Josephine (née Pschorr) and Franz Strauss, who was the principal horn player at the Court Opera in Munich and a professor at the Königliche Musikschule. His mother was the daughter of Georg Pschorr, a financially prosperous brewer from Munich. Strauss began his musical studies at the age of four, studying piano with August Tombo who was the harpist in the Munich Court Orchestra. He soon after began attending the rehearsals of the orchestra, and began getting lessons in music theory and orchestration from the ensemble's assistant conductor. He wrote his first composition at the age of six, and continued to write music almost until his death. In 1872, he started receiving violin instruction from Benno Walter, the director of the Munich Court Orchestra and his father's cousin, and at 11 began five years of compositional study with Friedrich Wilhelm Meyer. In 1882 he graduated from the Ludwigsgymnasium and afterwards attended only one year at the University of Munich in 1882–1883. In addition to his formal teachers, Strauss was profoundly influenced musically by his father who made instrumental music-making central to the Strauss home. The Strauss family was frequently joined in their home for music making, meals, and other activities by the orphaned composer and music theorist Ludwig Thuille who was viewed as an adopted member of the family. Strauss's father taught his son the music of Beethoven, Haydn, Mozart, and Schubert. His father further assisted his son with his musical composition during the 1870s and into the early 1880s, providing advice, comments, and criticisms. His father also provided support by showcasing his son's compositions in performance with the ‘Wilde Gung'l’, an amateur orchestra he conducted from 1875 to 1896. Many of his early symphonic compositions were written for this ensemble. His compositions at this time were indebted to the style of Robert Schumann or Felix Mendelssohn, true to his father's teachings. His father undoubtedly had a crucial influence on his son's developing taste, not least in Strauss's abiding love for the horn. His Horn Concerto No. 1, is representative of this period and is a staple of the modern horn repertoire. In 1874, Strauss heard his first Wagner operas, Lohengrin and Tannhäuser. In 1878 he attended performances of Die Walküre and Siegfried in Munich, and in 1879 he attended performances of the entire Ring Cycle, Die Meistersinger von Nürnberg, and Tristan und Isolde. The influence of Wagner's music on Strauss's style was to be profound, but at first his musically conservative father forbade him to study it. Indeed, in the Strauss household, the music of Richard Wagner was viewed with deep suspicion, and it was not until the age of 16 that Strauss was able to obtain a score of Tristan und Isolde. In 1882 he went to the Bayreuth Festival to hear his father perform in the world premiere of Wagner's Parsifal; after which surviving letters to his father and to Thuille detail his seemingly negative impression of Wagner and his music. In later life, Strauss said that he deeply regretted the conservative hostility to Wagner's progressive works. In early 1882, in Vienna, Strauss gave the first performance of his Violin Concerto in D minor, playing a piano reduction of the orchestral part himself, with his teacher Benno Walter as soloist. The same year he entered Ludwig Maximilian University of Munich, where he studied philosophy and art history, but not music. He left a year later to go to Berlin, where he studied briefly before securing a post with the Meiningen Court Orchestra as assistant conductor to Hans von Bülow, who had been enormously impressed by the young composer's Serenade (Op. 7) for wind instruments, composed when he was only 16 years of age. Strauss learned the art of conducting by observing Bülow in rehearsal. Bülow was very fond of the young man, and Strauss considered him as his greatest conducting mentor, often crediting him as teaching him "the art of interpretation". Notably, under Bülow's baton he made his first major appearance as a concert pianist, performing Mozart's Piano Concerto No. 24, for which he composed his own cadenzas. In December 1885, Bülow unexpectedly resigned from his post, and Strauss was left to lead the Meiningen Court Orchestra as interim principal conductor for the remainder of the artistic season through April 1886. He notably helped prepare the orchestra for the world premiere performance of Johannes Brahms's Symphony No. 4, which Brahms himself conducted. He also conducted his Symphony No. 2 for Brahms, who advised Strauss: "Your symphony contains too much playing about with themes. This piling up of many themes based on a triad, which differ from one another only in rhythm, has no value." Brahms' music, like Wagner's, also left a tremendous impression upon Strauss, and he often referred to this time of his life as his ‘Brahmsschwärmerei’ (‘Brahms adoration’) during which several his compositions clearly show Brahms' influence, including the Piano Quartet in C minor, Op. 13 (1883–84), Wandrers Sturmlied (1884) and Burleske (1885–86)." Success in conducting and tone poems (1885–1898) In 1885 Strauss met the composer Alexander Ritter who was a violinist in the Meiningen orchestra and the husband of one of Richard Wagner's nieces. An avid champion of the ideals of Wagner and Franz Liszt, Ritter had a tremendous impact on the trajectory of Strauss's work as a composer from 1885 onward. Ritter convinced Strauss to abandon his more conservative style of composing and embrace the "music of the future" by modeling his compositional style off of Wagner and Liszt. He further influenced Strauss by engaging him in studies and conversations on the writings of Arthur Schopenhauer, Wagner, and Friedrich von Hausegger. All of this together gave a new aesthetic anchor to Strauss which first became evident in his embrace of the tone poem genre. After leaving his post in Meiningen in 1886, Strauss spent several weeks traveling throughout Italy before assuming a new post as third conductor at the Bavarian State Opera (then known as the Munich Hofoper). While traveling he wrote down descriptions of the various sites he was seeing along with tonal impressions that went with those descriptions. These he communicated in a letter to his mother, and they ultimately were used as the beginning of his first tone poem, Aus Italien (1886). Shortly after Strauss assumed his opera conducting duties in Munich, Ritter himself moved to the city in September 1886. For the next three years the two men would meet regularly, often joined by Thuille and Anton Seidl, in order to discuss music, particularly Wagner and Liszt, and discuss poetry, literature, and philosophy. Strauss's tenure at the Bavarian State Opera was not a happy one. With the death of Ludwig II of Bavaria in June 1886, the opera house was not as well financially supported by his successor Otto of Bavaria which meant that much of the more ambitious and expensive repertoire that he wanted to stage, such as Wagner's operas, were unfeasible. The opera assignments he was given, works by Boieldieu, Auber and Donizetti, bored him, and to make matters worse Hermann Levi, the senior conductor at the house, was often ill and Strauss was required to step in at the last minute to conduct performance for operas which he had never rehearsed. This caused problems for him, the singers, and the orchestra. During this time, Strauss did find much more enjoyable conducting work outside Munich in Berlin, Dresden, and Leipzig. In the latter city he met and befriended the composer Gustav Mahler in the autumn of 1887. Also happily, Strauss met his future wife, soprano Pauline de Ahna, in 1887. De Ahna was then a voice student at the Munich Musikschule (now the University of Music and Performing Arts Munich), but soon switched to private lessons with Strauss who became her principal teacher. In May 1889 Strauss left his post with the Bavarian State Opera after being appointed Kapellmeister to Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach in Weimar, beginning in the Autumn of 1889. During the Summer of 1889 he served as the assistant conductor of the Bayreuth Festival during which time he befriended Cosima Wagner who became a longterm close friend. Pauline De Ahna went with Strauss to Weimar and he later married her on 10 September 1894. She was famous for being irascible, garrulous, eccentric and outspoken, but to all appearances the marriage was essentially happy, and she was a great source of inspiration to him. Throughout his life, from his earliest songs to the final Four Last Songs of 1948, he preferred the soprano voice to all others, and all his operas contain important soprano roles. In Weimar she created the role of Freihild in Strauss's first opera, Guntram, in 1894. The opera was received with mixed reviews in Weimar, but its later production in Munich was met with scorn and was Strauss's first major failure. In spite of the failure of his first opera, Strauss's tenure in Weimar brought about several important successes for his career. His tone poem Don Juan premiered in Weimar on 11 November 1889 to tremendous critical response, and the work quickly brought him international fame and success. This was followed by another lauded achievement, the premiere of his tone poem Death and Transfiguration in 1890. Both of these works, along with the earlier Burleske, became internationally known and established him as a leading modernist composer. He also had much success as a conductor in Weimar, particularly with the symphonic poems of Liszt and an uncut production of Tristan und Isolde in 1892. In the Summer of 1894 Strauss made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with Pauline singing Elisabeth. Just prior to their marriage the following September, Strauss left his post in Weimar when he was appointed Kapellmeister, or first conductor, of the Bavarian State Opera where he became responsible for the operas of Wagner. While working in Munich for the next four years he had his largest creative period period of tone poem composition, producing Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), and Ein Heldenleben (1898). He also served as principal conductor of the Berlin Philharmonic in 1894–1895. In 1897, the Strausses’ only child, their son Franz, was born. In 1906, Strauss purchased a block of land at Garmisch-Partenkirchen and had a villa () built there with the down payments from the publisher Adolph Fürstner for his opera Salome, residing there until his death. Fame and success with operas (1898–1933) Strauss left the Bavarian State Opera in 1898 when he became principal conductor of the Staatskapelle Berlin at the Berlin State Opera in the fall of 1898; a position he remained in for 15 years. By this time in his career, he was in constant demand as a guest conductor internationally and enjoyed celebrity status as a conductor; particularly in the works of Wagner, Mozart, and Liszt in addition to his own compositions. He became president of the Allgemeiner Deutscher Musikverein in 1901, and that same year became leader of the Berliner Tonkünstlerverein. He also served as editor of the book series Die Musik. He used all of these posts to champion contemporary German composers like Mahler. His own compositions were becoming increasingly popular, and the first major orchestra to perform an entire concert of only his music was the Vienna Philharmonic in 1901. In 1903 Strauss Festivals dedicated to his music were established in London and Heidelberg. At the latter festival his cantata Taillefer was given its world premiere. In 1904 Strauss embarked on his first North American tour, with stops in Boston, Chicago, Cleveland, Cincinnati, New York City, and Pittsburgh. At Carnegie Hall he conducted the world premiere of his Symphonia Domestica on 21 March 1904 with the Wetzler Symphony. He also conducted several other works in collaboration with composer Hermann Hans Wetzler and his orchestra that year at Carnegie Hall, and also performed a concert of leider with his wife. During this trip he was working intensively on composing his third opera, Salome, based on Oscar Wilde's 1891 play Salome. The work, which premiered in Dresden in 1905, became Strauss's greatest triumph in his career up to that point, and opera houses all over the world quickly began programing the opera. After Salome, Strauss had a string of critically successful operas which he created with the librettist and poet Hugo von Hofmannsthal. These operas included Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). While all of these works remain part of the opera repertoire, his opera Der Rosenkavalier is generally considered his finest achievement. During this time he continued to work internationally as a celebrity conductor, and from 1919 to 1924 he was principal conductor of the Vienna State Opera. In 1920 he co-founded the Salzburg Festival with Reinhardt and the set designer Alfred Rolle. In 1924 Strauss's opera Intermezzo premiered at the Dresden Semperoper with both the music and the libretto by Strauss. For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian. Nazi Germany (1933–1945) Reichsmusikkammer In March 1933, when Strauss was 68, Adolf Hitler and the Nazi Party rose to power. Strauss never joined the Nazi Party, and studiously avoided Nazi forms of greeting. For reasons of expediency, however, he was initially drawn into cooperating with the early Nazi regime in the hope that Hitler—an ardent Wagnerian and music lover who had admired Strauss's work since viewing Salome in 1907—would promote German art and culture. Strauss's need to protect his Jewish daughter-in-law and Jewish grandchildren also motivated his behavior, in addition to his determination to preserve and conduct the music of banned composers such as Gustav Mahler and Claude Debussy. In 1933, Strauss wrote in his private notebook: I consider the Streicher–Goebbels Jew-baiting as a disgrace to German honour, as evidence of incompetence—the basest weapon of untalented, lazy mediocrity against a higher intelligence and greater talent. Meanwhile, far from being an admirer of Strauss's work, Joseph Goebbels maintained expedient cordiality with Strauss only for a period. Goebbels wrote in his diary: Unfortunately we still need him, but one day we shall have our own music and then we shall have no further need of this decadent neurotic. Nevertheless, because of Strauss's international eminence, in November 1933 he was appointed to the post of president of the newly founded Reichsmusikkammer, the Reich Music Chamber. Strauss, who had lived through numerous political regimes and had no interest in politics, decided to accept the position but to remain apolitical, a decision which would eventually become untenable. He wrote to his family, "I made music under the Kaiser, and under Ebert. I'll survive under this one as well." In 1935 he wrote in his journal: In November 1933, the minister Goebbels nominated me president of the Reichsmusikkammer without obtaining my prior agreement. I was not consulted. I accepted this honorary office because I hoped that I would be able to do some good and prevent worse misfortunes, if from now onwards German musical life were going to be, as it was said, "reorganized" by amateurs and ignorant place-seekers. Strauss privately scorned Goebbels and called him "a pipsqueak". However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest against the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig. When the opera was premiered in Dresden in 1935, Strauss insisted that Zweig's name appear on the theatrical billing, much to the ire of the Nazi regime. Hitler and Goebbels avoided attending the opera, and it was halted after three performances and subsequently banned by the Third Reich. On 17 June 1935, Strauss wrote a letter to Stefan Zweig, in which he stated: Do you believe I am ever, in any of my actions, guided by the thought that I am 'German'? Do you suppose Mozart was consciously 'Aryan' when he composed? I recognise only two types of people: those who have talent and those who have none. This letter to Zweig was intercepted by the Gestapo and sent to Hitler. Strauss was subsequently dismissed from his post as Reichsmusikkammer president in 1935. The 1936 Berlin Summer Olympics nevertheless used Strauss's Olympische Hymne, which he had composed in 1934. Strauss's seeming relationship with the Nazis in the 1930s attracted criticism from some noted musicians, including Toscanini, who in 1933 had said, "To Strauss the composer I take off my hat; to Strauss the man I put it back on again", when Strauss had accepted the presidency of the Reichsmusikkammer. Much of Strauss's motivation in his conduct during the Third Reich was, however, to protect his Jewish daughter-in-law Alice and his Jewish grandchildren from persecution. Both of his grandsons were bullied at school, but Strauss used his considerable influence to prevent the boys or their mother being sent to concentration camps. Late operas and family tragedy Frustrated that he could no longer work with Zweig as his librettist, Strauss turned to Joseph Gregor, a Viennese theatre historian, at Gregor's request. The first opera they worked on together was Daphne, but it ultimately became the second of their operas to be premiered. Their first work to be staged was in 1938, when the entire nation was preparing for war, they presented Friedenstag (Peace Day), a one-act opera set in a besieged fortress during the Thirty Years' War. The work is essentially a hymn to peace and a thinly veiled criticism of the Third Reich. With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety. He drove to the Theresienstadt concentration camp in order to argue, albeit unsuccessfully, for the release of Alice's grandmother, Paula Neumann. In the end, Neumann and 25 other relatives were murdered in the camps. While Alice's mother, Marie von Grab, was safe in Lucerne, Switzerland, Strauss also wrote several letters to the SS pleading for the release of her children who were also held in camps; his letters were ignored. In 1942, Strauss moved with his family back to Vienna, where Alice and her children could be protected by Baldur von Schirach, the Gauleiter of Vienna. However, Strauss was unable to protect his Jewish relatives completely; in early 1944, while Strauss was away, Alice and her son Franz were abducted by the Gestapo and imprisoned for two nights. Strauss's personal intervention at this point saved them, and he was able to take them back to Garmisch, where the two remained under house arrest until the end of the war. Metamorphosen and apprehension by US troops Strauss completed the composition of Metamorphosen, a work for 23 solo strings, in 1945. The title and inspiration for the work comes from a profoundly self-examining poem by Goethe, which Strauss had considered setting as a choral work. Generally regarded as one of the masterpieces of the string repertoire, Metamorphosen contains Strauss's most sustained outpouring of tragic emotion. Conceived and written during the blackest days of World War II, the piece expresses Strauss's mourning of, among other things, the destruction of German culture—including the bombing of every great opera house in the nation. At the end of the war, Strauss wrote in his private diary: The most terrible period of human history is at an end, the twelve year reign of bestiality, ignorance and anti-culture under the greatest criminals, during which Germany's 2000 years of cultural evolution met its doom. In April 1945, Strauss was apprehended by American soldiers at his Garmisch estate. As he descended the staircase he announced to Lieutenant Milton Weiss of the U.S. Army, "I am Richard Strauss, the composer of Rosenkavalier and Salome." Lt. Weiss, who was also a musician, nodded in recognition. An "Off Limits" sign was subsequently placed on the lawn to protect Strauss. The American oboist John de Lancie, who knew Strauss's orchestral writing for oboe thoroughly, was in the army unit, and asked Strauss to compose an oboe concerto. Initially dismissive of the idea, Strauss completed this late work, his Oboe Concerto, before the end of the year. Final years and death (1942–1949) The metaphor "Indian Summer" has been used by journalists, biographers, and music critics, notably Norman Del Mar in 1964 to describe Strauss's late creative upsurge from 1942 to the end of his life. The events of World War II seemed to bring the composer—who had grown old, tired, and a little jaded—into focus. The major works of the last years of Strauss's life, written in his late 70s and 80s, include, among others, his Horn Concerto No. 2, Metamorphosen, his Oboe Concerto, his Duet Concertino for clarinet and bassoon, and his Four Last Songs. Like most Germans, Strauss's bank accounts were frozen and many of his assets seized by American forces. Now elderly and with very few resources remaining, Strauss and his wife left Germany for Switzerland in October 1945 where they settled in a hotel just outside Zürich. There they met the Swiss music critic Willy Schuh, who became Strauss's biographer. Strapped for cash, in 1947 Strauss embarked on his last international tour, a three-week trip to London, in which he conducted several of his tone poems and excerpts of his operas, and was present during a complete staging of Elektra by the BBC. The trip was a critical success and provided him and his wife with some much needed money. From May to September 1948, just before his death, Strauss composed the Four Last Songs which deal with the subject of dying. The last one, "Im Abendrot" (At Sunset), ends with the line "Is this perhaps death?" The question is not answered in words, but instead Strauss quotes the "transfiguration theme" from his earlier tone poem Death and Transfiguration—meant to symbolize the transfiguration and fulfilment of the soul after death. In June 1948, he was cleared of any wrong-doing by a denazification tribunal in Munich. That same month he orchestrated Ruhe, meine Seele!, a song that he had originally composed in 1894. In December 1948 Strauss was hospitalized for several weeks after undergoing bladder surgery. His health rapidly deteriorated after that, and he conducted his last performance, the end of Act 2 of Der Rosenkavalier at the Prinzregententheater in Munich, during celebrations of his 85th birthday on 10 June 1949. On 15 August he suffered from a heart attack and he died of kidney failure quietly, in his sleep, shortly after 2 p.m. on 8 September 1949, in Garmisch-Partenkirchen, West Germany. From his death-bed, typical for his enduring sense of humour, he commented to his daughter-in-law Alice, "dying is just as I composed it in Tod und Verklärung". Georg Solti, who had arranged Strauss's 85th birthday celebration, also directed an orchestra during Strauss's burial. The conductor later described how, during the singing of the famous trio from Rosenkavalier, "each singer broke down in tears and dropped out of the ensemble, but they recovered themselves and we all ended together". Strauss's wife, Pauline de Ahna, died eight months later, on 13 May 1950, at the age of 88. Strauss's late works (as an octogenarian composer) were modelled on "the divine Mozart at the end of a life full of thankfulness",. Strauss himself declared in 1947 with characteristic self-deprecation: "I may not be a first-rate composer, but I am a first-class second-rate composer." The Canadian pianist Glenn Gould described Strauss in 1962 as "the greatest musical figure who has lived in this century". Music Solo and chamber works Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio. His last independent chamber work, an Allegretto in E major for violin and piano, dates from 1948. He also composed two large-scale works for wind ensemble during this period: Sonatina No. 1 "From an Invalid's Workshop" (1943) and Sonatina No. 2 "Happy Workshop" (1946)—both scored for double wind quintet plus two additional horns, a third clarinet in C, bassett horn, bass clarinet, and contrabassoon. Tone poems and other orchestral works Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration. The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Also sprach Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911–1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra." James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first. Concertos Strauss's output of works for solo instrument or instruments with orchestra was fairly extensive. The most famous include two concertos for horn, which are still part of the standard repertoire of most horn soloists—Horn Concerto No. 1 (1883) and Horn Concerto No. 2 (1942); the Romanze for cello and orchestra (1883); a Violin Concerto in D minor (1882); the Burleske for piano and orchestra (1885, revised 1889); the tone poem Don Quixote for cello, viola and orchestra (1897); the well-known late Oboe Concerto in D major (1945); and the Duett-Concertino for clarinet and bassoon with string orchestra, which was one of his last works (1948). Opera Around the end of the 19th century, Strauss turned his attention to opera. His first two attempts in the genre, Guntram (1894) and Feuersnot (1901), were controversial works; Guntram was the first significant critical failure of Strauss's career, and Feuersnot was considered obscene by some critics. In 1905, Strauss produced Salome, a somewhat dissonant modernist opera based on the play by Oscar Wilde, which produced a passionate reaction from audiences. The premiere was a major success, with the artists taking more than 38 curtain calls. Many later performances of the opera were also successful, not only with the general public but also with Strauss's peers: Maurice Ravel said that Salome was "stupendous", and Gustav Mahler described it as "a live volcano, a subterranean fire". Strauss reputedly financed his house in Garmisch-Partenkirchen completely from the revenues generated by the opera. As with the later Elektra, Salome features an extremely taxing lead soprano role. Strauss often remarked that he preferred writing for the female voice, which is apparent in these two sister operas—the male parts are almost entirely smaller roles, included only to supplement the soprano's performance. Strauss's next opera was Elektra (1909), which took his use of dissonance even further, in particular with the Elektra chord. Elektra was also the first opera in which Strauss collaborated with the poet Hugo von Hofmannsthal as his librettist. The two subsequently worked together on numerous occasions. For his later works with Hofmannsthal, Strauss moderated his harmonic language: he used a more lush, melodic late-Romantic style based on Wagnerian chromatic harmonies that he had used in his tone poems, with much less dissonance, and exhibiting immense virtuosity in orchestral writing and tone color. This resulted in operas such as Der Rosenkavalier (1911) having great public success. Strauss continued to produce operas at regular intervals until 1942. With Hofmannsthal he created Ariadne auf Naxos (1912), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). For Intermezzo (1924) Strauss provided his own libretto. Die schweigsame Frau (1935) was composed with Stefan Zweig as librettist; Friedenstag (1935–36) and Daphne (1937) both had a libretto by Joseph Gregor and Stefan Zweig; and Die Liebe der Danae (1940) was with Joseph Gregor. Strauss's final opera, Capriccio (1942), had a libretto by Clemens Krauss, although the genesis for it came from Stefan Zweig and Joseph Gregor. Lieder Strauss was a prolific composer of lieder. He often composed them with the voice of his wife in mind. His lieder were written for voice and piano, and he orchestrated several of them after the fact. In 1894–1895, around the age of 30, he published several well-known songs including "Ruhe, meine Seele!", "Cäcilie", "Morgen!", "Heimliche Aufforderung", and "Traum durch die Dämmerung". In 1918, after a long hiatus devoted to opera, he wrote Sechs Lieder, Op. 68, also called Brentano Lieder. He completed his works in the genre in 1948 with Four Last Songs for soprano and orchestra. He reportedly composed these with Kirsten Flagstad in mind and she gave the first performance, which was recorded. Strauss's songs have always been popular with audiences and performers, and are generally considered by musicologists—along with many of his other compositions—to be masterpieces. Legacy Until the 1980s, Strauss was regarded by some post-modern musicologists as a conservative, backward-looking composer, but re-examination of and new research on the composer has re-evaluated his place as that of a modernist, albeit one who still utilized and sometimes revered tonality and lush orchestration. Strauss is noted for his pioneering subtleties of orchestration, combined with an advanced harmonic style; when he first played Strauss at a university production of Ariadne auf Naxos, the conductor Mark Elder "was flabbergasted. I had no idea music could do the things he was doing with harmony and melody." Strauss's music had a considerable influence on composers at the start of the 20th century. Béla Bartók heard Also sprach Zarathustra in 1902, and later said that the work "contained the seeds for a new life"; a Straussian influence is clearly present in his works of that period, including his First String Quartet, Kossuth, and Bluebeard's Castle. Karol Szymanowski was also greatly influenced by Strauss, reflected in such pieces as his Concert Overture and his first and second symphonies, and his opera Hagith which was modeled after Salome. English composers were also influenced by Strauss, from Edward Elgar in his concert overture In the South (Alassio) and other works to Benjamin Britten in his opera writing. Many contemporary composers recognise a debt to Strauss, including John Adams and John Corigliano. Strauss's musical style played a major role in the development of film music in the middle of the 20th century. The style of his musical depictions of character (Don Juan, Till Eulenspiegel, the Hero) and emotions found their way into the lexicon of film music. Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". Max Steiner and Erich Korngold came from the same musical world as Strauss and were quite naturally drawn to write in his style. As film historian Roy Prendergast wrote, "When confronted with the kind of dramatic problem films presented to them, Steiner, Korngold and Newman ... looked to Wagner, Puccini, Verdi and Strauss for the answers to dramatic film scoring." Later, the opening to Also sprach Zarathustra became one of the best-known pieces of film music when Stanley Kubrick used it in his 1968 movie 2001: A Space Odyssey. The film music of John Williams has continued the Strauss influence, in scores for mainstream hits such as Superman and Star Wars. Strauss has always been popular with audiences in the concert hall and continues to be so. He has consistently been in the top 10 composers most performed by symphony orchestras in the US and Canada over the period 2002–2010. He is also in the top 5 of 20th-century composers (born after 1860) in terms of the number of currently available recordings of his works. Recordings as a conductor Strauss, as conductor, made a large number of recordings, both of his own music as well as music by German and Austrian composers. His 1929 performances of Till Eulenspiegel's Merry Pranks and Don Juan with the Berlin State Opera Orchestra have long been considered the best of his early electrical recordings. In the first complete performance of his An Alpine Symphony, made in 1941 and later released by EMI, Strauss used the full complement of percussion instruments required in this work. Koch Legacy has also released Strauss's recordings of overtures by Gluck, Carl Maria von Weber, Peter Cornelius, and Wagner. The preference for German and Austrian composers in Germany in the 1920s through the 1940s was typical of the German nationalism that existed after World War I. Strauss clearly capitalized on national pride for the great German-speaking composers. There were many other recordings, including some taken from radio broadcasts and concerts during the 1930s and early 1940s. The sheer volume of recorded performances would undoubtedly yield some definitive performances from a very capable and rather forward-looking conductor. In 1944, Strauss celebrated his 80th birthday and conducted the Vienna Philharmonic in recordings of his own major orchestral works, as well as his seldom-heard Schlagobers (Whipped Cream) ballet music. Some find more feeling in these performances than in Strauss's earlier recordings, which were recorded on the Magnetophon tape recording equipment. Vanguard Records later issued the recordings on LPs. Some of these recordings have been reissued on CD by Preiser. The last recording made by Strauss was on 19 October 1947 live at the Royal Albert Hall in London, where he conducted the Philharmonia Orchestra in his Burleske for piano and orchestra (Alfred Blumen piano), Don Juan and Sinfonia Domestica. Strauss also made live-recording player piano music rolls for the Hupfeld system and in 1906 ten recordings for the reproducing piano Welte-Mignon all of which survive today. Strauss was also the composer of the music on the first CD to be commercially released: Deutsche Grammophon's 1983 release of their 1980 recording of Herbert von Karajan conducting the Alpine Symphony. Pierre Boulez has said that Strauss the conductor was "a complete master of his trade". Music critic Harold C. Schonberg writes that, while Strauss was a very fine conductor, he often put scant effort into his recordings. Schonberg focused primarily on Strauss's recordings of Mozart's Symphony No. 40 and Beethoven's Symphony No. 7, as well as noting that Strauss played a breakneck version of Beethoven's 9th Symphony in about 45 minutes. Concerning Beethoven's 7th Symphony, Schonberg wrote, "There is almost never a ritard or a change in expression or nuance. The slow movement is almost as fast as the following vivace; and the last movement, with a big cut in it, is finished in 4 minutes, 25 seconds. (It should run between 7 and 8 minutes.)" He also complained that the Mozart symphony had "no force, no charm, no inflection, with a metronomic rigidity". Peter Gutmann's 1994 review for ClassicalNotes.com says the performances of the Beethoven 5th and 7th symphonies, as well as Mozart's last three symphonies, are actually quite good, even if they are sometimes unconventional. Gutmann wrote: It is true, as the critics suggest, that the readings forego overt emotion, but what emerges instead is a solid sense of structure, letting the music speak convincingly for itself. It is also true that Strauss's tempos are generally swift, but this, too, contributes to the structural cohesion and in any event is fully in keeping with our modern outlook in which speed is a virtue and attention spans are defined more by MTV clips and news sound bites than by evenings at the opera and thousand page novels. Anecdotes In May 1891 Strauss came down with a serious pneumonia. While convalescing in Feldafing, he wrote to the critic Arthur Seidl: "Dying may not be so bad, but I should first like to conduct Tristan." In 1934 Strauss told his friend and librettist Stefan Zweig: "What suit me best, South German bourgeois that I am, are sentimental jobs; but such bullseyes as the Arabella duet and the Rosenkavalier trio don't happen every day. Must one become seventy to recognize that one's greatest strength lies in creating kitsch?" In 1948 during a visit by his son Franz in Montreux, Strauss was prompted again to compose. Franz had told him "Papa, stop writing letters and brooding, it does no good. Write a few nice songs instead." A few months later Franz' wife Alice was visiting, and just before she left, Strauss put some scores on the table and told her off-the-cuff: "Here are the songs your husband ordered". These were the Four Last Songs. Subsequent mentions The science fiction story "A Work of Art" by James Blish presents a Strauss reconstructed by future science to compose a new work of comparable genius and originality. Simplified conclusion: It fails. Honors His honors included: 1903 (26 October), Honorary Doctorate, Heidelberg University. 1907 (30 June), Ordre national de la Légion d'honneur, Croix de Chevalier, Paris, France. Officier, (14 June 1914). 1910 (24 November), Bavarian Maximilian Order for Science and Art. 1914 (24 June), Honorary Doctorate, Oxford University. Honorary citizen of Munich. 1924 (12 June), Pour le Mérite for Sciences and Art, German award. 1924, Honorary Doctorate, University of Music and Performing Arts, Vienna. Freedom of the cities of Vienna and Salzburg. 1932, New York College of Music Medal. 1936 (5 November), the Royal Philharmonic Society's gold medal. 1939 (28 April), Commandeur de L'Ordre de la Couronne, presented by Leopold III of Belgium. 1949 (11 June), Honorary Doctorate, University of Munich. References Citations Cited sources (This article is very different from the one in the 1980 Grove; in particular, the analysis of Strauss's behavior during the Nazi period is more detailed.) Further reading Del Mar, Norman (3 vols. 1962–1973). Richard Strauss: A Critical Commentary on his Life and Works. London: Barrie & Jenkins. . Ithaca, New York: Cornell Univ Press, 1986. Dubal, David (2003), The Essential Canon of Classical Music, North Point Press, . Gilliam, Bryan (1999). The Life of Richard Strauss. Cambridge: Cambridge University Press. . Kennedy, Michael. "Richard Strauss", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London, Macmillan Publishers, 1998. Kennedy, Michael (2006). The Oxford Dictionary of Music, 985 pages, Murray, David (1998), "Richard Strauss", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, vol. 3, pp. 565–575. London: Macmillan Publishers. 1998. . Osborne, Charles (1991). The Complete Operas of Richard Strauss. New York City: Da Capo Press. . Tuchman, Barbara W. (1966, reprinted 1980). The Proud Tower chapter 6. Macmillan, London. . Youmans, Charles (2005). Richard Strauss's Orchestral Music and the German Intellectual Tradition: the Philosophical Roots of Musical Modernism. Bloomington: Indiana University Press. . External links Richard Strauss online Richard Strauss Institute (in German) Richard-Strauss-Quellenverzeichnis (RSQV) 1864 births 1949 deaths 19th-century classical composers 19th-century classical pianists 19th-century classical violinists 19th-century male conductors (music) 19th-century conductors (music) 19th-century German composers 20th-century classical composers 20th-century classical pianists 20th-century classical violinists 20th-century German conductors (music) 20th-century German male musicians 20th-century German composers Articles containing video clips Ballet composers Ballets Russes composers General Directors of the Vienna State Opera German anti-fascists German classical pianists German classical violinists German male classical composers German male conductors (music) German male pianists German male violinists German opera composers German Romantic composers Honorary Members of the Royal Philharmonic Society Recipients of the Legion of Honour Recipients of the Order of the Crown (Belgium) Male classical pianists Male classical violinists Male opera composers Music directors of the Berlin State Opera Musicians from Munich Opera managers People from Garmisch-Partenkirchen People from the Kingdom of Bavaria Recipients of the Pour le Mérite (civil class) Royal Philharmonic Society Gold Medallists	false	[ "Else Hansen (Cathrine Marie Mahs Hansen) also called de Hansen (1720 – 4 September 1784), was the royal mistress of king Frederick V of Denmark. She is his most famous mistress and known in history as Madam Hansen, and was, alongside Charlotte Amalie Winge, one of only two women known to have been long term lovers of the king.\n\nLife\n\nThe background of Else Hansen does not appear to be known. Tradition claims her to be the sister of Frederick's chamber servant Henrik Vilhelm Tillisch, who in 1743 reportedly smuggled in his sister to the king at night, but modern research does not support them to be the same person.\n\nRoyal mistress\nIt is not known exactly when and how Hansen became the lover of the king. Frederick V was known for his debauched life style. According to Dorothea Biehl, the king was known to participate in orgies or 'Bacchus parties', in which he drank alcohol with his male friends while watching female prostitutes stripped naked and danced, after which the king would sometime beat them with his stick and whip them after having been intoxicated by alcohol. These women where economically compensated, but none of them seem to have had any status of a long term mistress, nor did any of the noblewomen and maids-of-honors, which according to rumors where offered to the king by their families in hope of advantages but simply married of as soon as they became pregnant without any potential relationship having been anything but a secret. The relationship between the king and Else Hansen was therefore uncommon.\n\nElse Hansen gave birth to five children with the king between 1746 and 1751, which is why the affair is presumed to have started in 1746 at the latest and ended in 1751 at the earliest. At least her three younger children where all born at the manor Ulriksholm on Funen, a manor owned by Ulrik Frederik von Heinen, brother-in-law of the de facto ruler of Denmark, the kings favorite Adam Gottlob Moltke, who likely arranged the matter. The manor was named after the royal Ulrik Christian Gyldenlove, illegitimate son of a previous king. The king's children with Hansen where baptized in the local parish church near the manor, where they were officially listed as the legitimate children of the wife of a non existent man called \"Frederick Hansen, ship writer from Gothenburg to China\". The frequent trips to Ulriksholm by Hansen as soon as her pregnancies with the king became evident was publicly noted. Neither Else Hansen nor any other of the king's mistresses where ever any official mistress introduced at the royal court, nor did they have any influence upon state affairs whatever, as politics where entrusted by the king to his favorite Moltke.\n\nIn 1752, the relationship between the king and Hansen may have ended – in any case, it was not mentioned more or resulted in any more children. She settled in the property Kejrup near Ulriksholm with her children, officially with the status of \"widow of the late sea captain de Hansen\".\n\nLater life\nAfter the death of Frederick in 1766, she acquired the estate Klarskov on Funen. She sold Klarskov and moved to Odense in 1768. In 1771, however, she bought Klarskov a second time and continued to live there until her death.\n\nHer children were not officially recognized, but unofficially they were taken care of by the royal court: her daughters were given a dowry and married to royal officials and the sons careers where protected, and her grandchildren where also provided with an allowance from the royal house.\n\nAfter Hansen, the king did not have any long term mistress until Charlotte Amalie Winge (1762–66).\n\nLegacy\nAt Frederiksborgmuseet, there are three paintings of Hansen by Jens Thrane the younger from 1764. Hansen is known by Dorothea Biehl's depiction of the decadent court life of Frederick V.\n\nIssue \nHer children were officially listed with the father \"Frederick Hansen, sea captain\".\nFrederikke Margarethe de Hansen (1747–1802)\nFrederikke Catherine de Hansen (1748–1822)\nAnna Marie de Hansen (1749–1812)\nSophie Charlotte de Hansen (1750–1779)\nUlrik Frederik de Hansen (1751–1752)\n\nSources\n Charlotte Dorothea Biehl, Interiører fra Frederik V's Hof, udgivet af Louis Bobé.\n Aage Christens, Slægten de Hansen, 1968.\n\nReferences\n\n1720 births\n1784 deaths\nMistresses of Danish royalty\n18th-century Danish people\n18th-century Danish women landowners\n18th-century Danish landowners", "Maria Komnene (c. 1144 – 1190) was Queen of Hungary and Croatia from 1163 until 1165. Maria's father was Isaac Komnenos (son of John II).\n\nMarriage\nShe married c. 1157 to King Stephen IV of Hungary (c. 1133 – 11 April 1165). They did not have any children.\n\nSources \n Kristó Gyula - Makk Ferenc: Az Árpád-ház uralkodói (IPC Könyvek, 1996)\n Korai Magyar Történeti Lexikon (9-14. század), főszerkesztő: Kristó Gyula, szerkesztők: Engel Pál és Makk Ferenc (Akadémiai Kiadó, Budapest, 1994)\n\nHungarian queens consort\n1140s births\n1190 deaths\nMaria\n12th-century Byzantine women\n12th-century Hungarian women\n12th-century Byzantine people\n12th-century Hungarian people" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love" ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	wHEN DID SHE REFORM?	1	wHEN DID Juliana Hatfield REFORM?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	In 2014	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	true	[ "Miri Gold is the first non-Orthodox rabbi in Israel to have her salary paid by the government. She was born in Detroit, but in 1977 she immigrated to Kibbutz Gezer along with other North Americans. When the founder of the kibbutz's congregation (Kehilat Birkat Shalom) left, Gold began leading High Holidays services and preparing children for bat mitzvahs and bar mitzvahs. Gold entered the Reform movement's Hebrew Union College - Jewish Institute of Religion in 1994, and was ordained in 1999. At the time she was paid by the congregation, since the Israeli government did not recognize non-Orthodox rabbis. Gold petitioned the Israeli Supreme Court in 2005 to change this, and in 2012 a ruling by the Israeli attorney general granted her request.\n\nReferences\n\nIsraeli Reform rabbis\nWomen rabbis", "In January, 1890, the National Reform Party was established in opposition to the Reform Party, drawing from the group Hui Kālaiāina and the Mechanics' and Workingmens' Political Protective Union. It was regarded as moderate political party and supported Queen Liliuokalani and native Hawaiians, making themselves favored when she formed her cabinet which were all members of the National Reform Party. The other two main parties were both critical of the queen. The conservative Reform Party said she was too liberal and the Liberal Party accused her of being too conservative.\n\nSuccessful candidates included John Adams Cummins and Paul Neumann.\n\nSee also\nNational Liberal Party (Hawaii)\n\nReferences\n\nPolitics of Hawaii\nNational Reform Party\nNational Reform Party\nNational Reform Party\n \n1890 establishments in Hawaii" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014" ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	What was the name of her group?	2	What was the name of Juliana Hatfield group?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	The Juliana Hatfield Three	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	true	[ "White Witch is the title of the second studio album by the group Andrea True Connection. It was released in 1977. The album had two singles: and \"N.Y., You Got Me Dancing\" and \"What's Your Name, What's Your Number\". This was the last album released by the group and the vocalist Andrea True would release a new album as a solo release only in 1980.\n\nBackground and production\nAfter the success of her first album and the gold-certified single More, More, More, the band begun to prepeare for their second release. The album production included studio musicians with a new band assembled for the tour, the second line-up, which included future Kiss guitarist Bruce Kulick, it was also produce by the disco pioneers Michael Zager and Jerry Love.\n\nSingles\nThe first single of the album was \"N.Y., You Got Me Dancing\", it was released in 1977 and became True's second biggest hit, reaching No. 27 on Billboard's pop chart, and #4 on the U.S. club chart, it also peaked #89 in the Canadian RPM's chart. \"What's Your Name, What's Your Number\" was released as the second and last single of the album (and also of the group) in 1978 and reached #9 on the U.S. club chart, #34 in the UK and #56 on the Billboard Hot 100\n\nCritical reception\n\nThe album received mixed reviews from music critics. Alex Henderson from the Allmusic website gave the album two and a half stars out of five in a mixed review which he wrote that \"while White Witch isn't a bad album, it falls short of the excellence her first album, More, More, More.\" He also stated that there are a few gems in the album \"including the Michael Zager-produced \"What's Your Name, What's Your Number\" and the exuberant, Gregg Diamond-produced \"N.Y., You Got Me Dancing\"\" according to him they're both \"exercises in unapologetically campy fun.\" He concluded that the album \"LP is strictly for diehard disco collectors.\"\n\nTrack listing\nsource:\n\nReferences\n\n1977 albums\nAndrea True albums\nBuddah Records albums", "\"What R U Waiting 4\" is a song originally performed by American actress and singer Lindsay Lohan, which was included on the Confessions of a Teenage Drama Queen soundtrack in 2004; Australian singer-songwriter Tiffani Wood covered the song for her debut single, also released in 2004. The song was written by Matthew Gerrard, Bridget Benenate, and Steve Booker, whilst production was helmed by Tony Cvetkovski. \"What R U Waiting 4\" was Wood's first release following the disbandment of Australian girl group Bardot.\n\nProduction and recording\n \n\"What R U Waiting 4\" was written by Matthew Gerrard, Bridget Benenate, Steve Booker; it was produced by Tony Cvetkovski. Lindsay Lohan originally performed the song, which was included on the movie soundtrack Confessions of a Teenage Drama Queen, released in February 2004. In the same year, Tiffani Wood covered the song for her debut single, utilizing a relaxed version of the instrumental in Lohan's version. Wood's version was recorded by Cvetkovski, with Cvetkovski and Wood both responsible for additional vocal arrangements on the song.\n\nCvetkovski and David Hemming mixed the song in Australia, while David Macquarie handled the mastering of the song.\n\nComposition\nAccording to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of C major and is set in time signature of common time with a tempo of 92 beats per minute. Wood's vocal range spans two octaves, from G3 to E5.\n\nCover versions\n\"What R U Waiting 4\" was used in the film Bratz: Rock Angelz (2005), and featured on its respective soundtrack under the name \"Change the World\". American singer-songwriter Natalie Grant released a cover of the song on her fourth studio album Awaken (2005).\n\nTrack listings and formats\nCD single\n\"What R U Waiting 4\" – 3:28\n\"The Mirror\" – 3:49\n\"U & 1\" – 3:45\n\"What R U Waiting 4\" (Instrumental) – 3:24\n\nCharts\n\nReferences\n\n2004 singles\nLindsay Lohan songs\nSongs written by Matthew Gerrard\nSongs written by Bridget Benenate\nSongs written by Steve Booker (producer)\n2004 songs\nWarner Music Group singles" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three" ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	Who was in her group?	3	Who was in Juliana Hatfield group?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	Hatfield, drummer Todd Philips, and bassist Dean Fisher	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	false	[ "Esther Oladunni Soyannwo (née Ososami) was a Nigerian teacher and politician. In 1964 she was the first woman elected to the House of Representatives, but was unable to take her seat.\n\nBiography\nSoyannwo was educated at CMS Girls School Lagos and worked as a teacher. A mother of six, she entered politics in the 1950s, joining the Action Group and becoming an activist for its women's section in 1953. She was elected to Ijebu South district council, and was later the Action Group's only female candidate in 1964 parliamentary elections. Her campaign was funded by her brother, a wealthy businessman in Ijebu, who gave her £2,000. Her campaign was also assisted by the Ijebu Women's Association. She defeated her Nigerian National Democratic Party opponent Sanya Onabamiro by 18,232 votes to 2,149, one of the new Action Group candidates to win in Western Region. However, her election led to violence and the party advised her it would be too dangerous to take her seat.\n\nReferences\n\nNigerian schoolteachers\nAction Group (Nigeria) politicians\n20th-century Nigerian women politicians\nPossibly living people\nNigerian women's history", "Platelet (foaled 2 November 2008) was a notable Australian Thoroughbred race horse. Platelet is a retired multiple Group 1 winning mare who was trained by Ballarat-based trainer Darren Weir who during her racing career won $1,396,250. Her consistency was highlighted winning 10 races with a further 9 second placing out of only 32 starts. The highlight of her career was winning the Group 1 South Australian Robert Sangster – Goodwood sprint double which only the champion Black Caviar has been able to achieve. She was retired on 18 April 2015. Her second foal was the highest priced Exceed and Excel yearling ever sold at $1.8m\n\nBreeding\nPlatelet was born on 2 November 2008 from the Dracula mare Bloodlette.\n\nRacing career\n\n2010–11: two-year-old season\nPlatelet was unraced as a 2yo after playing up in the barriers at Swan Hill and being scratched\n\n2011–12: three-year-old season\nShe returned after regaining her barrier certificate on the first racing day of the racing season (1st August 2011) where she finished 2nd at Echuca. At this stage it was difficult to imagine the subsequent heights she would reach. She won her second start at Geelong and continued to improve finishing her first campaign as the winner of the Group 3 Throughbred Club Stakes at MRC with the record of 6: 2-2-2. Returning in the Autumn she completed a 6 race campaign finishing with a winning trifecta of races culminating in a victory in the Listed John Monash Stakes. Her record at the end of the season was 12: 5-3-3.\n\n2012–13: four-year-old season\nReturning as a four-year-old on 1 September 2012, Platelet had 3 starts in the Spring without claiming an elusive victory but still claimed a further two placings. She returned in the Autumn to complete her most successful campaign with Victory in both Group 1 Sprint races in Adelaide (the Sangster and The Goodwood) repeating the feat of Black Caviar the year before. Her record now standing at 19: 7-5-5.\n\n2013–14: five-year-old season\nPlatelet returned in the Spring of 2013 winning the Group 2 Gilgai Stakes at Flemington with Michelle Payne on board at her second start of the campaign. This campaign was not without controversy as she was a late scratching from the Group 1 $1m VRC Spring due to a stabling administration error.\n\nHer autumn campaign added another victory and two further second placings in both the Group 1 Robert Sangster Stakes and The Goodwood. Her record at the end of the season stood at 27: 9-8-5.\n\n2014–15: six-year-old season\n\nPlatelet started her final racing year with a second in the Group 2 Schillaci in October 2014, then went unplaced in her next two Group 1 starts in the Manikato and the Darley Classic after drawing the outside barrier in both events. She returned in the Autumn winning a 955m sprint at Moonee Valley before injuring herself in what would be her final start the Group 3 Irvin Stakes. The ownership led by Darren Dance of ATB Thoroughbreds making the decision to retire her as she had been very good to them. Her career ended with the outstanding record of 32: 10-9-5\n\nRetirement & Breeding\n\nPlatelet was purchased by Cressfield Stud in 2015 post her racing career. Platelet's first foal was a 2016 Fastnet Rock colt that was sold as a yearling for $80,000 at the Inglis Classic sale. This was followed by a 2018 Exceed and Excel colt which was sold for the Exceed and Excel yearling record price of $1.8m and represented the 2nd highest priced lot in Australia's highest grossing sale\n\nReferences\n\n2008 racehorse births\nRacehorses trained in Australia\nRacehorses bred in Australia\nAustralian racehorses\nThoroughbred family 22-b" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three", "Who was in her group?", "Hatfield, drummer Todd Philips, and bassist Dean Fisher" ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	What did they do together?	4	What did Juliana Hatfield do together with Hatfield, drummer Todd Philips, and bassist Dean Fisher?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	began practicing new material for an album.	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	false	[ "\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)", "\"What Would Steve Do?\" is the second single released by Mumm-Ra on Columbia Records, which was released on February 19, 2007. It is a re-recorded version of the self-release they did in April 2006. It reached #40 in the UK Singles Chart, making it their highest charting single.\n\nTrack listings\nAll songs written by Mumm-Ra.\n\nCD\n\"What Would Steve Do?\"\n\"Cute As\"\n\"Without You\"\n\n7\"\n\"What Would Steve Do?\"\n\"What Would Steve Do? (Floorboard Mix)\"\n\nGatefold 7\"\n\"What Would Steve Do?\"\n\"Cute As\"\n\nReferences\n\n2007 singles\nMumm-Ra (band) songs\n2006 songs\nColumbia Records singles" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three", "Who was in her group?", "Hatfield, drummer Todd Philips, and bassist Dean Fisher", "What did they do together?", "began practicing new material for an album." ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	Did they release anything?	5	Did The Juliana Hatfield Three release anything?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	The lead single from the album, "If I Could," was released	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	false	[ "\"Was There Anything I Could Do?\" is a song by the Australian alternative rock band The Go-Betweens that was issued as the second single from their sixth album 16 Lovers Lane. The song was released 3 October 1988 by Beggars Banquet Records in the UK and Mushroom Records in Australia but failed to chart in either region. It was released as a promotional single in the US by Capitol Records and charted on Billboard's Modern Rock Tracks charts in the United States, peaking at No. 16.\n\n\"Was There Anything I Could Do?\" was not necessarily the unanimous choice by all members of the band, with claims by some that they wanted Forster's \"Clouds\" whilst McLennan pushed for the song as it was more driving and anthemic.\n\nCover versions \nThe song was covered by Maxïmo Park and included on a limited edition compilation album, released in July 2008 to celebrate the launch of Independents Day.\n\nIn 2010 a cover of the song by The Buzzards, was included on a Go-Betweens tribute album, Right Here.\n\nFranz Ferdinand in November 2013 covered the song on Triple J's Like a Version programme.\n\nIn 2014 a cover of the song by Missy Higgins was included on her album, Oz.\n\nTrack listing\n\nOriginal 7\" Vinyl release\n \"Was There Anything I Could Do?\" - 3:06\n \"Rock and Roll Friend\" - 3:30\n\nOriginal 12\" Vinyl release\n \"Was There Anything I Can Do?\" - 3:06\n \"Rock and Roll Friend\" - 3:30\n \"Mexican Postcard\" - 2:13\n\nOriginal CD single release\n \"Was There Anything I Can Do?\" - 3:06\n \"Rock and Roll Friend\" - 3:30\n \"Mexican Postcard\" - 2:13\n \"Bye Bye Pride\" - 4:06\n\nRelease history\n\nNotes\nA. :The US release was a 12\" promotional release with \"Was There Anything I Could Do?\" on each side.\n\nCharts\n\nReferences\n\nExternal links \n [ \"Was There Anything I Could Do?\"] @ AllMusic\n \"Was There Anything I Could Do?\" @ MusicBrainz\n \"Was There Anything I Could Do?\" @ Discogs\n Video\n Alternate Video\n\n1988 singles\nThe Go-Betweens songs\n1988 songs\nMushroom Records singles\nBeggars Banquet Records singles\nSongs written by Grant McLennan\nSongs written by Robert Forster (musician)", "\"Anything Goes!\" is a song by Japanese recording artist Maki Ohguro, her 32nd single in her over twenty-year-long career. The song serves as the opening theme of the 2010-2011 Kamen Rider Series Kamen Rider OOO. The single for the song was released on November 17, 2010, as a standard CD release and a CD+DVD release featuring the music video for the song. On September 15, 2010, Avex released the opening sequence edit of the song to digital music outlets. The single includes 3 variations of the song: the single cut, a ska edit, and the instrumental track. Japan-based rapper Rah-D is featured on the track. \"Anything Goes!\" is Maki Ohguro's first single in 11 years to break the top 10 of the Oricon at number 7, after selling 33,000 copies in its first week of release.\n\nA balladic version of the song titled \"Anything Goes! “Ballad”\" was played during the final scenes of the finale of Kamen Rider OOO. Ohguro stated that she thought that the song would also work as a slow ballad, especially after she has been watching how the series has progressed, and recorded the song during her hiatus from releases. She also expressed how she think her children would react when they grow up and watch the future Kamen Rider shows, believing they will think she was cool for having recorded the Kamen Rider OOO theme song. The balladic version was initially to be released as a single on October 19, 2011, but was eventually pushed back to December 7 of that year.\n\nTrack listing\nThe complete track listing has not been confirmed.\n\n\"Anything Goes!\" — 3:33\n\"Anything Goes! (Ska Foundation Edit.)\" — 3:13\n\"Anything Goes! (Instrumental)\" — 3:31\n\nDVD track listing\n\"Anything Goes! (Music Film)\"\n\nDigital release\n\"Anything Goes! (TV ver.)\" — 1:12\n\nCharts\n\nSales and certifications\n\nReferences\n\nExternal links\nKamen Rider OOO site at Avex Group\n\"Anything Goes!\" at Maki Ohguro's official site\n\n2010 singles\nJapanese-language songs\nJapanese television drama theme songs\nSongs with lyrics by Shoko Fujibayashi\nKamen Rider\nAvex Trax singles\n2010 songs" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three", "Who was in her group?", "Hatfield, drummer Todd Philips, and bassist Dean Fisher", "What did they do together?", "began practicing new material for an album.", "Did they release anything?", "The lead single from the album, \"If I Could,\" was released" ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	When was this released?	6	When was the lead single from Juliana Hatfield Three album, "If I Could," released?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	December 2014,	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	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", "\"When It Rains, It Really Pours\" is a song originally written and recorded by Billy \"The Kid\" Emerson. His version, titled \"When It Rains It Pours\", was released by Sun Records in 1954. The song was later recorded by Elvis Presley in 1957, but not released until 1965 on the album Elvis for Everyone.\n\nEmerson's version\nThe song was recorded on October 27, 1954 at Sun Recording Studio in Memphis, Tennessee. Sam Phillips was the producer. It was released on January 8, 1955 as Sun 214, as the B-side to the song \"Move Baby Move\" which did not chart.\n\nPersonnel at the season were Emerson, piano: Elven Parr, guitar: Robert Prindell, drums: Charles Smith, alto sax: Bennie Moore, tenor sax: and Luther Taylor, trumpet.\n\nPresley's recordings\nPresley had initially attempted to record the song while at Sun Records in November 1955, with Elvis and Scotty Moore on guitars, Bill Black on bass and Johnny Bernero on drums, but it was never completed as his contract with Sun was sold to RCA Records around the same time. The tapes of all Presley's Sun recordings were handed to RCA as part of the deal, with most of them being included on albums released shortly afterwards. Presley's 1955 recording of \"When It Rains, It Really Pours\", however, was not released. It was lost for several years until 1982 when it was found and finally released officially on the 1983 compilation album Elvis: A Legendary Performer Volume 4.\n\nPresley was recorded performing the song during the Million Dollar Quartet session on December 4, 1956.\n\nOn February 24, 1957 Presley again recorded the song, this time for RCA. This version also went unreleased until it appeared on the 1965 album Elvis for Everyone. The musicians on this session were Moore and Presley on guitars, Black on bass, Fontana on drums, Dudley Brooks on piano and the Jordanaires singing backup.\n\nIn 1968, during rehearsals for the television special Elvis, Presley was recorded singing it as a potential song for the show. Although the song was not chosen for the special, the rehearsal was released on The Complete '68 Comeback Special CD released in 2008.\n\nReferences\n\nElvis Presley songs\n1954 songs\nSongs written by Billy \"The Kid\" Emerson" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three", "Who was in her group?", "Hatfield, drummer Todd Philips, and bassist Dean Fisher", "What did they do together?", "began practicing new material for an album.", "Did they release anything?", "The lead single from the album, \"If I Could,\" was released", "When was this released?", "December 2014," ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	What was the name of this album?	7	What was the name of Juliana Hatfield Three album?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	Whatever, My Love	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	true	[ "White Witch is the title of the second studio album by the group Andrea True Connection. It was released in 1977. The album had two singles: and \"N.Y., You Got Me Dancing\" and \"What's Your Name, What's Your Number\". This was the last album released by the group and the vocalist Andrea True would release a new album as a solo release only in 1980.\n\nBackground and production\nAfter the success of her first album and the gold-certified single More, More, More, the band begun to prepeare for their second release. The album production included studio musicians with a new band assembled for the tour, the second line-up, which included future Kiss guitarist Bruce Kulick, it was also produce by the disco pioneers Michael Zager and Jerry Love.\n\nSingles\nThe first single of the album was \"N.Y., You Got Me Dancing\", it was released in 1977 and became True's second biggest hit, reaching No. 27 on Billboard's pop chart, and #4 on the U.S. club chart, it also peaked #89 in the Canadian RPM's chart. \"What's Your Name, What's Your Number\" was released as the second and last single of the album (and also of the group) in 1978 and reached #9 on the U.S. club chart, #34 in the UK and #56 on the Billboard Hot 100\n\nCritical reception\n\nThe album received mixed reviews from music critics. Alex Henderson from the Allmusic website gave the album two and a half stars out of five in a mixed review which he wrote that \"while White Witch isn't a bad album, it falls short of the excellence her first album, More, More, More.\" He also stated that there are a few gems in the album \"including the Michael Zager-produced \"What's Your Name, What's Your Number\" and the exuberant, Gregg Diamond-produced \"N.Y., You Got Me Dancing\"\" according to him they're both \"exercises in unapologetically campy fun.\" He concluded that the album \"LP is strictly for diehard disco collectors.\"\n\nTrack listing\nsource:\n\nReferences\n\n1977 albums\nAndrea True albums\nBuddah Records albums", "Kraken III is the name of the third studio album Colombian group Kraken It was released on January 3, 1990 by Sonolux. The first single from the album was \"Rostros Ocultos\". The second single was \"Lágrimas de Fuego\".\n\nInformation \nThis album confirmed the progressive trend of the band. A trend that featured a group identity and a concept of what is Kraken. This album started to show the other bands of the country's ideology which is the National Rock and how it can be strengthened.\n\nTrack listing\n\nReferences \n\nKraken (band) albums\n1993 albums" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three", "Who was in her group?", "Hatfield, drummer Todd Philips, and bassist Dean Fisher", "What did they do together?", "began practicing new material for an album.", "Did they release anything?", "The lead single from the album, \"If I Could,\" was released", "When was this released?", "December 2014,", "What was the name of this album?", "Whatever, My Love" ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	How did her album do?	8	How did Juliana Hatfield album, Whatever, My Love do?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	Consequence of Sound named it "one of the 50 most anticipated albums of 2015."	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	true	[ "Izvorne i novokomponovane narodne pesme is the seventeenth studio album by pop-folk singer Lepa Brena. It was released 11 December 2013 through the record label Grand Production. The record was primarily produced by Dragan Stojković Bosanac.\n\nRelease \nOn February 13, 2013 Brena announced that she will publish the album of original and newly composed folk dedicated to her mother. \"I'm doing a new album, something different, something I love and what I enjoy. I record original songs, I'm doing it slowly because I'm not in a hurry anymore. I still do not know how many tracks will be on the album and when I publish it. These songs are singing in a specific way, and you can not love them. All my life, I had to make songs for other people. I do not have to do anything at the moment and I want to dedicate the edition to my mother Ifeta. Thanks to her I learned to sing and love many beautiful original songs.\n\nBackground\nNineteen old hits by Lepa Brena were included on her new album, which, as she had previously announced, she dedicated to her mother Ifeta, who sang folk songs to her when she was a child.. Namely, Brena recently said that her mother is waiting for an operation, which of course is very worrying for the singer. Therefore, the new album dedicates to her, so that with the old hits she likes, she can easily overcome the health problems. \"I've been thinking all my life about how in music I never did anything for my parents. My father, unfortunately, did not live to hear that I recorded many tracks he loved very much. So I dedicate this album to my mother because I recorded the songs she sang to me when I was a little girl.\"'' — said Brena.\n\nHer mother died on 21 November 2014, less than a year after the album's release.\n\nTrack listing\n\nYear-end charts\n\nPersonnel\n\nCrew\nAccordion – Aleksandar Sofronijević\nArranged By – Aleksandar Sofronijević (tracks: 3 to 12, 15, 19)\nBass Guitar – Nikola Labović\nClarinet, Saxophone, Fife – Marko Kojadinović\nFlute – Nevenka Tomašević\nGoblet Drum – Dragan Stojković\nGuitar – Aleksandar Popović\nMastered By – Daniel Jovanović\nMixed By, Edited By – Zoran Beočanin Sotir\nOrchestrated By – Aleksandar Sofronijević\nProducer – Dragan Stojković-Bosanac\nViolin – Nemanja Mijatović, Stefan Ilić\nWritten-By – Narodna* (tracks: 3 to 12, 15, 19)\n\nReferences\n\n2013 albums\nLepa Brena albums\nGrand Production albums\nSerbo-Croatian language albums", "\"How Do I Get Close\" is a song released by the British rock group, the Kinks. Released on the band's critically panned LP, UK Jive, the song was written by the band's main songwriter, Ray Davies.\n\nRelease and reception\n\"How Do I Get Close\" was first released on the Kinks' album UK Jive. UK Jive failed to make an impression on fans and critics alike, as the album failed to chart in the UK and only reached No. 122 in America. However, despite the failure of the album and the lead UK single, \"Down All the Days (Till 1992)\", \"How Do I Get Close\" was released as the second British single from the album, backed with \"Down All the Days (Till 1992)\". The single failed to chart. The single was also released in America (backed with \"War is Over\"), where, although it did not chart on the Billboard Hot 100, it hit No. 21 on the Mainstream Rock Tracks chart, the highest on that chart since \"Working At The Factory\" in 1986. \"How Do I Get Close\" also appeared on the compilation album Lost & Found (1986-1989).\n\nStephen Thomas Erlewine cited \"How Do I Get Close\" as a highlight from both UK Jive and Lost & Found (1986-1989).\n\nReferences\n\nThe Kinks songs\n1990 singles\nSongs written by Ray Davies\nSong recordings produced by Ray Davies\n1989 songs\nMCA Records singles" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three", "Who was in her group?", "Hatfield, drummer Todd Philips, and bassist Dean Fisher", "What did they do together?", "began practicing new material for an album.", "Did they release anything?", "The lead single from the album, \"If I Could,\" was released", "When was this released?", "December 2014,", "What was the name of this album?", "Whatever, My Love", "How did her album do?", "Consequence of Sound named it \"one of the 50 most anticipated albums of 2015.\"" ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	What other singles were released?	9	Besides If I Could, What other singles were released by Juliana Hatfield Three?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	"Ordinary Guy"	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	true	[ "\"What a Life\" is a song recorded by South Korean duo Exo-SC, the second official sub-unit of the South Korean boy group Exo. It was released on July 22, 2019, by SM Entertainment as one of the three title tracks of their first extended play What a Life. The song resulted in Exo-SC first music show win on KBS's Music Bank on August 2, 2019.\n\nBackground and release \n\"What a Life\" is described as a hip hop track with a unique pluck sound and an addictive chorus, and the lyrics contains a pleasant message of \"Let's all work and play happily\".\n\nOn July 31, a cam video of the two members separately of their performance of \"What a Life\" on their showcase were released.\n\nMusic video \nOn July 18, a teaser of \"What a Life\" was released along with the other two title tracks of What a Life EP. On July 21, \"What a Life\" music video teaser was released. On July 22, the official music video of \"What a Life\" was released.\n\nLive performance \nExo-SC performed \"What a Life\" for the first time on Exo's 5th concert EXO Planet #5 - EXplOration on July 19, and will continue to do so for all the concerts in the tour.\n\nOn July 22, EXO-SC performed \"What a Life\" at their two showcases for the press and for the fans.\n\nCharts\n\nAccolades\n\nMusic program awards\n\nRelease history\n\nReferences \n\n2019 songs\n2019 singles\nKorean-language songs\nSM Entertainment singles\nBillboard Korea K-Pop number-one singles", "\"One Said to the Other\" is a song by Australian punk rock band the Living End. It was released on 20 January 2003 as the first single from their third album, Modern ARTillery (2003). The song peaked at No. 19 on the Australian ARIA Singles Chart and was ranked No. 52 on Triple J's Hottest 100 for 2003. The songs \"One Said to the Other\" and \"What Would You Do?\" were both recorded in 2002, before the Modern ARTillery sessions.\n\nTrack listing\nAustralian CD single\n \"One Said to the Other\"\n \"What Would You Do?\"\n \"Blinded\"\n \"Fond Farewell\"\n\nCharts\n\nReferences\n\nExternal links\n \n\n2003 singles\n2003 songs\nEMI Records singles\nThe Living End songs\nSongs written by Chris Cheney" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three", "Who was in her group?", "Hatfield, drummer Todd Philips, and bassist Dean Fisher", "What did they do together?", "began practicing new material for an album.", "Did they release anything?", "The lead single from the album, \"If I Could,\" was released", "When was this released?", "December 2014,", "What was the name of this album?", "Whatever, My Love", "How did her album do?", "Consequence of Sound named it \"one of the 50 most anticipated albums of 2015.\"", "What other singles were released?", "\"Ordinary Guy\"" ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	How long was it before she made music popularly?	10	How long was the time before Juliana Hatfield made music popularly?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	after two decades of hiatus,	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	false	[ "Tolu Oniru, popularly known as Toolz, is a Nigerian radio personality, talk show host, and presenter. She is best known for hosting The Midday Show on The Beat 99.9 FM.\n\nEarly life\nToolz was born in London on 6 July 1983. She had her primary education at Talbot House preparatory school in Bournemouth, UK, and secondary education in Nigeria before relocating to study at City of Westminster College. She also has a degree in Business and Mass communication from London Metropolitan University. Her parents are members of the Oniru royal family of Lagos State.\n\nPersonal life\nTolu Oniru married Tunde Demuren, son of a former Director General of National Civil Aviation Authority, Harold Demuren in Dubai on 26 May 2016. They have two children together.\n\nIn an interview with Potpourri Tolu oniru talks on how she got into radio presenting on how getting on radio happened accidentally. As it was her first radio gig, and she wasn't sure she was any good and how she was certain she would be fired in three months, but that didn't happen. She described her career was initially on a ‘plan-as-I-go’ basis, but now she tries to plan more and set more long-term goals.\n\nCareer\nPrior to settling in Nigeria in 2008, she worked with MTV Europe and Walt Disney Pictures in the United Kingdom. She presently hosts The Midday Show on The Beat 99.9 FM every weekday. She also interviews popularly African entertainers on her talk show The Juice. Popular celebrities like Yvonne Nelson, Omotola Jalade Ekeinde, Davido, Rita Dominic have all been on her show. She was part of the judges at the 2011 and 2012 Channel O Music Video Awards. Toolz is also the host of X Factor West Africa\n\nAwards\n\nWon\n2010 Nigeria Broadcasters Awards - Radio Presenter of the Year\n2010 Dynamix All Youths Awards - Radio Presenter of the Year\n2011 FAB Awards - On-Air Personality of the Year\n2011 Nigeria Broadcasters Awards - Sexiest Media Personality\n2012 The Future Awards - On-Air Personality of the Year\n2012 Nigeria Entertainment Awards - Media Personality of the Year\n\nNominated\n 2014 Nickelodeon Kids' Choice Awards - Favourite Nigerian On Air Personality\n\nReferences\n\nExternal links\nNdani TV Channel on YouTube\n\nNigerian radio personalities\nLiving people\nAlumni of London Metropolitan University\nYoruba radio personalities\nTelevision personalities from London\nYoruba women television personalities\nNigerian television talk show hosts\nYoruba royalty\nEnglish people of Nigerian descent\nEnglish people of Yoruba descent\nBlack British television personalities\nTelevision personalities from Lagos\n1982 births\nNigerian radio presenters", "Awurama Badu (Ewurama Badu) was a Ghanaian highlife musician born in 1945 and from Banko in the Sekyere Kumawu District of the Ashanti Region. Popularly known for her stage performance and hit songs, she was a gifted and talented Highlife musician who had a breakthrough when the music industry was largely dominated by males with few females to fight for a place in the industry, according to \"Bessa Simons\" (Highlife musician). Awurama has four children—two sons and two daughters.\n\nMusic career \nBadu was formerly with the Ghana Police Band(known for their live band performances) before she established herself in the highlife music industry. Her music career started at the time when women played little role in highlife music. Her hard work paid off with scoring hit songs like \"Medofo Adaada Me\", \"Komkom\", \"Emelia\", \"Odo Tie Me Nni Obiara\" and \"Obaatan Refre Ne Mma\".\n\nIn December 5, 2015, Action Senior High & Technical School as part of their 15 years of academic excellence honoured Badu in a special citation, the school extolled her astute qualities as a role model, musician and how her songs had helped shape society as well as educated people on some social vices.\n\nHer continuous hard work and commitment to the music industry was rewarded by a non-governmental organization, Values for Life, founded by the former deputy Minister for Tourism, Arts and Culture, Dzifa Gomashie in 2016 for her contribution to arts and music in Ghana.\n\nHealth issues and death \nHer last public performance was at the 2013 edition of Citi FM‘s night of Music of Ghanaian Origin, held at the National Theatre of Ghana.\n\nIn July 2017, Badu made her last public appearance when she attended the 2nd Annual General Meeting of GHAMRO at the Kwame Nkrumah University of Science.\n\nBadu died at the Effiduase Government Hospital in the Ashanti Region on Thursday, 26 October 2017. The cause of her death is not yet known but sources say the singer had been ill for some time. She was 72.\n\nSee also \nMusic of Ghana\n\nReferences \n\n1945 births\n2017 deaths\nGhanaian highlife musicians\nGhanaian women singers" ]
[ "Juliana Hatfield", "2014: Reformation and Whatever, My Love", "wHEN DID SHE REFORM?", "In 2014", "What was the name of her group?", "The Juliana Hatfield Three", "Who was in her group?", "Hatfield, drummer Todd Philips, and bassist Dean Fisher", "What did they do together?", "began practicing new material for an album.", "Did they release anything?", "The lead single from the album, \"If I Could,\" was released", "When was this released?", "December 2014,", "What was the name of this album?", "Whatever, My Love", "How did her album do?", "Consequence of Sound named it \"one of the 50 most anticipated albums of 2015.\"", "What other singles were released?", "\"Ordinary Guy\"", "How long was it before she made music popularly?", "after two decades of hiatus," ]	C_b8d7e630486f40858bb76f7699cdc8bb_0	What was her last release and when was it released?	11	What was Juliana Hatfield last release and when was the albulm released?	Juliana Hatfield	In 2014 The Juliana Hatfield Three was reformed after two decades of hiatus, and Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album. The album marked the band's first release in twenty two years, since their LP Become What You Are in 1993. Stated Hatfield about the new album, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey, with Beaujour and Hatfield co-producing the project. The lead single from the album, "If I Could," was released in December 2014, and was premiered in publications such as Rolling Stone. That month the album was made available for pre-order on American Laundromat Records, with an announced release date for Whatever, My Love on February 17, 2015. The band announced they would tour the United States in support of the album throughout February, hitting cities on both coasts and the midwest, as well as venues such as the Bowery Ballroom in New York city and The Roxy Theatre in Los Angeles in late March. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, who wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. CANNOTANSWER	The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015.	Juliana Hatfield (born July 27, 1967) is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, Some Girls, and The Lemonheads. She also fronted her own band, The Juliana Hatfield Three, along with bassist Dean Fisher and drummer Todd Philips, which was active in the mid-1990s and again in the mid-2010s. It was with the Juliana Hatfield Three that she produced her best-charting work, including the critically acclaimed albums Become What You Are (1993) and Whatever, My Love (2015) and the singles "My Sister" (1993) and "Spin the Bottle" (1994). She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf. In December 2014, Paste named her cover of the song "Needle in the Hay" by Elliott Smith number 10 in a list of the 20 Best Cover Songs of 2014. In 2014, she reformed The Juliana Hatfield Three, announcing the new album Whatever, My Love for 2015. In late December, Stereogum named the album "one of their most anticipated albums of 2015", and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." In 2016 she formed a collaboration with Paul Westerberg under the moniker The I Don't Cares to release the album Wild Stab. More recently, she has released an album of original work titled Weird in 2019, sandwiched between two albums of cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019). Early life Hatfield grew up in the Boston suburb of Duxbury. Despite recording a song titled "My Sister", Hatfield has no sisters but she does have two brothers. Her father claimed his family descended from the West Virginia Hatfields of the Hatfield–McCoy feud following the Civil War. Her father served in the U.S. Navy during the Vietnam War. Hatfield went to Duxbury High School in Duxbury, Massachusetts. She attended Boston University and studied at Berklee College of Music in Boston, Massachusetts. She lives in Cambridge, Massachusetts. Hatfield also attended art school at the School of the Museum of Fine Arts, Boston in 2012 in a year-long, post-baccalaureate certificate program, to study painting. Music career First bands and solo album Hatfield acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police. While still at Berklee College of Music in 1986, she formed the band Blake Babies with John Strohm and Freda Love. The band released 4 albums between 1987 and 1991, and gained critical notice in Rolling Stone and the Village Voice, local radio airplay and press, and label support from Mammoth Records in North Carolina. The band broke up in 1992, but had a brief reunion in 2001 to produce another album. After the break-up of the Blake Babies, she joined The Lemonheads as their bass player, replacing founding bassist Jesse Peretz, and played on their breakthrough album It's a Shame About Ray in 1992. She left the band after about a year, but returned in 1993 as a guest vocalist on several tracks of Come on Feel the Lemonheads. In 1992, she released her debut solo album Hey Babe. The Juliana Hatfield Three Her commercial breakthrough came in 1993 with the formation of the band The Juliana Hatfield Three along with high-school friend Dean Fisher on bass and former Bullet LaVolta drummer Todd Philips, with herself performing lead vocal and lead guitar duties. The band produced the album Become What You Are and two hit singles, "My Sister" and "Spin the Bottle". "My Sister" was based on Hatfield's older brother's girlfriend, Maggie Rafferty, who lived with the family while Hatfield was in high school. She enjoyed Rafferty's eclectic record collection. Rafferty also took Hatfield to see the Del Fuegos and the Violent Femmes, which inspired her to form a band. "Spin the Bottle" was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield was profiled in a number of girls' magazines, most notably Sassy, at this time and addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox, she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty – but no one really got the joke." Over the years Hatfield's virginity would become a recurring theme in her press coverage, often accompanied by speculation that she had lost her virginity to The Lemonheads' leader Evan Dando who had referred to her as his "friend and sometimes girlfriend." In 2006, Hatfield sent a letter to The Weekly Dig in critique of writer Debbie Driscoll's scathing review of Soul Asylum's latest album, The Silver Lining. Kevin Dean from the newspaper responded by bringing up the subject of Hatfield losing her virginity to Dando; Hatfield fired back at Dean for bringing up her sex life, while stating that she and Dando never had sex, and that it was in fact Spike Jonze that she had lost her virginity to. She would later admit that she lost her virginity when she was 26 and "damn ready." Return to solo career The Juliana Hatfield Three only remained together through 1994, by 1995 she had returned to solo status and released the album Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in "Universal Heartbeat". In the video Hatfield portrayed a demanding aerobics instructor. Before the tour for Only Everything, she released Phillips and hired Jason Sutter on drums, Ed Slanker on guitar, and Lisa Mednick on keyboards. Two weeks into the tour, she canceled the tour. In her memoir, Hatfield writes that she was suffering from depression severe enough to be suicidal. She disagreed with the decision to avoid talking about her depression. The drummer was replaced by Phillips, and touring resumed with Jeff Buckley as the opening act. In 1996, she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. After three failures to satisfy requests by Atlantic Records to come up with a single, she asked to be released from her contract. The label obliged but kept the rights to the songs recorded during these sessions. Atlantic had paid $180,000 on the recordings. "Mountains of Love" and "Fade Away" were released on a greatest hits collection entitled Gold Stars, while "Can't Kill Myself" was available for download from Hatfield's website. The remaining tracks surfaced on bootlegs, which she disapproved of, and she has rarely played them live. In 1997 Hatfield toured with Lilith Fair, an all-female rock festival founded by singer Sarah McLachlan. After the experience of God's Foot, and freed from her label obligations, Hatfield recorded the EP Please Do Not Disturb for the independent label Bar/None. Produced by Hatfield, the album included drummer Todd Phillips, guitarists Ed Slanker and Mike Leahy, and bassist Mikey Welsh of Weezer. The EP included "Trying Not to Think About It," a tribute to her friend, deceased musician Jeff Buckley. Almost as a reaction to the seemingly endless studio sessions surrounding God's Foot, Hatfield recorded the album Bed in 1998 in six days, about which she said on her website, "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life." In 2000, she released Beautiful Creature. This album left the rockier side of Hatfield's musical personality unexpressed, however, so simultaneously she released Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh. She called the latter album "a loud release of tension" with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture." Billboard called the first "a collection of plaintive demos" and the second "chock-a-block with punk guitar missives." Juliana's Pony: Total System Failure was panned by some critics who preferred the more acoustic Beautiful Creature. On Beautiful Creature, Hatfield worked with musician Davíd Garza who co-produced much of the album. Wally Gagel, a producer for Sebadoh and Tanya Donelly, helped Hatfield record her most electronica-influenced songs, "Cool Rock Boy" and "Don't Rush Me", which added texture to the otherwise acoustic album. In 2002, Hatfield released Gold Stars 1992–2002: The Juliana Hatfield Collection. It contained singles from her solo albums, two songs from the unreleased God's Foot, a cover of Neil Young's "Only Love Can Break Your Heart", and new songs. In 2004, Hatfield released In Exile Deo, an attempt at a more commercial sound with input from producers and engineers who had worked with Pink and Avril Lavigne. Hatfield produced the album with David Leonard, receiving co-production credits on "Jamie's in Town" and the bright rocker "Sunshine". The critics praised it, with some calling it her best work since the start of her solo career. Ye Olde Records By contrast, the 2005 album Made in China was recorded in Bellows Falls, Vermont and Cambridge, Massachusetts, and was released on her own record label, Ye Olde Records. The record had a much rawer feel, with Hatfield playing instruments accompanied by the band Unbusted and other contributors. For the first time, Hatfield also played drums on at least one track. John Doe of the band X described the disc as "a frighteningly dark and beautiful record filled with stark, angular, truly brutal songs and guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what." Reviews were mixed, with some liking the lo-fi sound and others seeing it as slackness. The release of Made in China started a trend where Hatfield licensed her music, selling it via her website and with a distribution deal through Red Eye. In December 2005, Hatfield toured the United States with the band X, whom she idolized during her teenage years. In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. It was Hatfield's third release for her record label. Hatfield's 9th studio album, How to Walk Away, was released on August 19, 2008, on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo. Hatfield returned two years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering, and mixing were solely credited to Hatfield. The album received mixed reviews, with several complaining the album's low-key moody nature working against the potential of the songs. Hatfield offered, via her website, to write custom songs in order to fund a couple of projects; one of which was to release archive material. About halfway through the project, Hatfield stated that it had "completely re-energized and inspired" her again. During October 2010 Hatfield and Evan Dando played two sell-out acoustic live shows together at The Mercury Lounge in New York. The following month the duo played sell out shows in Allston, a neighborhood of Boston. This tour was followed, in January 2011, by five dates on the American east coast. PledgeMusic In April 2011, Hatfield announced her intention to work on a new album via fan-funding platform website PledgeMusic, from which she asked fans to help fund the project in exchange for personal artwork and memorabilia ranging from posters, CDs, and demos to one of Juliana's First Act guitars (used during the recording sessions) and even locks of her hair. The project also included donations for the Save a Sato foundation to which Hatfield is a major contributor. Fan response was enthusiastic, going over 400% of the original project cost. The album was originally going to be titled Speeches Delivered to Animals and Plants, in reference to a passage in the John Irving novel The World According to Garp, but later Hatfield herself changed it to There's Always Another Girl, in reference to a song in the album of the same name she had written as a defense for Lindsay Lohan after watching her flop I Know Who Killed Me. There's Always Another Girl was released on August 30, 2011, again independently on her Ye Olde Records label, though a downloadable version was made available to contributors a month before on July 27, which was Juliana's birthday. The album has received mostly positive reviews from critics. On August 28, 2012, Juliana Hatfield released a covers record titled Juliana Hatfield on her Ye Olde Records label. The album features covers of songs originally performed by The Who, Liz Phair, Creedence Clearwater Revival, Ryan Adams, I Blame Coco, and Led Zeppelin. As of July 2013, Juliana Hatfield has finished recording her thirteenth solo album, Wild Animals, with crowd-funding—for the third time—through PledgeMusic. In December 2014, Paste Magazine named her track "Needle in the Hay," an Elliott Smith cover, as No. 10 one of the "20 Best Cover Songs of 2014." The review called the cover "a more upbeat, approachable take on Smith’s disparate, wrought-iron classic. But even though it now employs bass, drums, tambourine and synth, the songs stays true to the sorrowful, tension-riddled original." Also that month, SPIN Magazine named the cover one of the "40 Best 2014 Songs by 1994 Artists ," where it came it at No. 36. The review stated "The tempo's a bit quicker, and she double-tracks herself for the song’s entirety. But the (tasteful) inclusion of chintzy drum programming and mellotron cleverly point to Smith's eventual creative direction." Reformation of The Juliana Hatfield Three In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. She used PledgeMusic to raise funds for the new album, titled Whatever, My Love, the trio's first since 1993's Become What You Are. Hatfield said, "We haven't totally reinvented the wheel or anything," and that the tracks exhibit the "stuff I am sort of known for, I guess. But I am a lot more confident now than I was then with the first album. And I had more fun recording this one." The twelve tracks for Whatever, My Love were recorded at Nuthouse Recording in Hoboken, New Jersey with Beaujour and Hatfield co-producing. The lead single, "If I Could," was released in December 2014 and was premiered in Rolling Stone. That month the album was made available for pre-order on American Laundromat Records with an announced release date of February 17, 2015. The band announced they would tour the United States in support of the album throughout February, visiting cities on both coasts and in the midwest, and appearing at the Bowery Ballroom in New York City, and The Roxy Theatre in Los Angeles. In late December 2014, Stereogum named the album "one of their most anticipated albums of 2015," and on January 4, 2015, Consequence of Sound named it "one of the 50 most anticipated albums of 2015." On January 9, 2015, Hatfield was featured at Nylon.com, which wrote that the upcoming album came off as "unforced, and with its sly lyrics and mega-hooky coffeehouse-grunge aesthetic." The album's second single "Ordinary Guy" premiered on Consequence of Sound on January 14, 2015. Recent collaborations and solo work In 2015 Juliana Hatfield and Paul Westerberg announced that they have formed a new group, called the I Don't Cares. They released the album Wild Stab in 2016. Since then, Hatfield has released a number of solo albums, including two albums of all cover songs, Juliana Hatfield Sings Olivia Newton-John (2018) and Juliana Hatfield Sings The Police (2019) and two albums of original work, Pussycat (2017) and Weird (2019). In 2019, Hatfield hinted that her next covers album would take on the work of an American artist, having already done an Australian (Newton-John) and an English band (The Police). In an interview for the book I'm Your Fan: The Songs of Leonard Cohen, Hatfield revealed that she was considering R.E.M. for her next cover album installment. Musical style Style and influences From her work with the Blake Babies to the present, Hatfield's output has been characterized by an alternation between heavy, rocking tunes and songs written in a gentler, more melodic or folk-oriented style. Hatfield has stated that in the 1990s she tried smoking cigarettes for a short time in the hope of giving her voice a rougher quality, but eventually reconciled herself with her distinctive vocal instrument. Hatfield's musical influences are diverse, ranging from punk groups like X, The Stooges, and The Replacements to more folk-oriented rock artists like Neil Young, whose songs the Blake Babies frequently covered in live shows. Her work has also cross-fertilized with some other contemporaneous indie rock bands such as Dinosaur Jr. and Lemonheads, whose musicians are also friends of Hatfield's. From an early age, she has also had a special love for pretty-sounding pop music. In a 1998 interview, she stated, "I just always liked pop music and really good melodies and major chords. That's just the type of music that comes naturally to me". In a 1993 interview in Melody Maker magazine, Hatfield stated that her enthusiasm for the music of the pop group Wilson Phillips apparently led, at least in part, to the breakup of the Blake Babies. Lyrics Hatfield nonetheless describes herself as very shy and somewhat of a loner, and has said that "happy lyrics don't come naturally to me." She has described her music and songwriting as a form of therapy, an outlet that helps her to overcome rough periods and depression. Collaborations Hatfield has also recorded with The Lemonheads, living for a time with Evan Dando in the college neighborhood of Allston in Boston, and contributed backing vocals to recordings by Belly, Giant Sand, Susanna Hoffs, Aimee Mann, and Mary Lou Lord. She teamed up with Dando in 1999 to record Gram Parsons's song "$1,000 Wedding" on the compilation, Return of the Grievous Angel: A Tribute to Gram Parsons. Some Girls In 2001, she joined with Freda Love and Heidi Gluck (of The Pieces and The Only Children) to form the trio Some Girls, with which she performs in addition to her solo work; the group has toured the United States twice and has released two albums. The trio is another outlet for Hatfield's more lighthearted material. Their first album, entitled Feel It, was released by Koch Records in 2003. The lead single "Necessito" is a funky affirmation of the power of music, sung in a mixture of English and Spanish. Some Girls' second album, Crushing Love, was released in July 2006. Frank Smith In 2007 Hatfield signed the Boston (now Austin)-based band Frank Smith to her record label, Ye Olde Records. Along with releasing their 2007 album Heavy Handed Peace and Love, Hatfield also recorded an EP with the band titled Sittin' in a Tree. The EP, produced by Frank Smith's Aaron Sinclair, features banjos, pedal steel, and other instruments normally associated with country music. Minor Alps Hatfield and Matthew Caws of Nada Surf formed a band called Minor Alps whose first album, Get There, was released October 29, 2013, on Barsuk Records. The I Don't Cares Hatfield and Paul Westerberg formed The I Don't Cares, releasing "Wild Stab" January 22, 2016, on Dry Wood Records. Writing and acting Beyond her musical accomplishments, Hatfield has also guest-starred on several television shows, including The Adventures of Pete & Pete as a lunch lady and on the cult classic My So-Called Life's 1994 Christmas episode as a deceased homeless girl who has become an angel. During the mid-1990s she was a staple on MTV's 120 Minutes alternative music program, and she performed on the Late Show with David Letterman and Late Night with Conan O'Brien in 1995. On March 25, 2008, Hatfield began her own blog through her website titled An Arm and A Leg. The blogs lasted about a year before being removed. Each week, or thereabouts, she'd revealed the influences behind one of her songs. Hatfield briefly appeared on an episode of Space Ghost Coast to Coast named "Surprise", which aired on June 19, 1996. Instead of being interviewed, she simply said "uhh" and then was zapped by Zorak. Hatfield released the book When I Grow Up: A Memoir on September 22, 2008. Personal life Hatfield has been a vegetarian for many years. Discography Studio albums Hey Babe (1992) Become What You Are (1993) Only Everything (1995) Bed (1998) Beautiful Creature (2000) Juliana's Pony: Total System Failure (2000) In Exile Deo (2004) Made in China (2005) How to Walk Away (2008) Peace & Love (2010) There's Always Another Girl (2011) Juliana Hatfield (2012) Wild Animals (2013) Whatever, My Love (2015) Pussycat (2017) Juliana Hatfield Sings Olivia Newton-John (2018) Weird (2019) Juliana Hatfield Sings The Police (2019) Blood (2021) Blake Babies Nicely, Nicely (1987) Earwig (1989) Sunburn (1990) God Bless the Blake Babies (2001) The Lemonheads It's a Shame About Ray (1992) Come on Feel the Lemonheads (1993) Some Girls Feel It (2003) Crushing Love (2006) Minor Alps Get There (2013) The I Don't Cares Wild Stab (2016) Books Hatfield, Juliana (2008). When I Grow Up: A Memoir. Wiley Publishing. . 336 pp. References Further reading LeRoy, Dan (2007). The Greatest Music Never Sold: Secrets of Legendary Lost Albums by David Bowie, Seal, Beastie Boys, Chicago, Mick Jagger, and More!. Backbeat Books. . . Reisfeld, Randi (1996). This Is the Sound!: The Best of Alternative Rock. New York: Simon Pulse. . External links Living people Singers from Maine Musicians from Cambridge, Massachusetts People from Wiscasset, Maine American autobiographers American women guitarists American women singer-songwriters 20th-century American singers 21st-century American singers American women rock singers American indie rock musicians American multi-instrumentalists American pop guitarists American rock bass guitarists American rock drummers American rock guitarists American rock keyboardists American rock songwriters Atlantic Records artists Berklee College of Music alumni Women bass guitarists Lead guitarists Singer-songwriters from Massachusetts The Lemonheads members Women autobiographers Zoë Records artists Songwriters from Maine Guitarists from Maine Guitarists from Massachusetts 20th-century American drummers 20th-century American bass guitarists American women non-fiction writers 20th-century American women singers 21st-century American women singers 1967 births Mammoth Records artists People from Duxbury, Massachusetts Duxbury High School alumni	true	[ "White Witch is the title of the second studio album by the group Andrea True Connection. It was released in 1977. The album had two singles: and \"N.Y., You Got Me Dancing\" and \"What's Your Name, What's Your Number\". This was the last album released by the group and the vocalist Andrea True would release a new album as a solo release only in 1980.\n\nBackground and production\nAfter the success of her first album and the gold-certified single More, More, More, the band begun to prepeare for their second release. The album production included studio musicians with a new band assembled for the tour, the second line-up, which included future Kiss guitarist Bruce Kulick, it was also produce by the disco pioneers Michael Zager and Jerry Love.\n\nSingles\nThe first single of the album was \"N.Y., You Got Me Dancing\", it was released in 1977 and became True's second biggest hit, reaching No. 27 on Billboard's pop chart, and #4 on the U.S. club chart, it also peaked #89 in the Canadian RPM's chart. \"What's Your Name, What's Your Number\" was released as the second and last single of the album (and also of the group) in 1978 and reached #9 on the U.S. club chart, #34 in the UK and #56 on the Billboard Hot 100\n\nCritical reception\n\nThe album received mixed reviews from music critics. Alex Henderson from the Allmusic website gave the album two and a half stars out of five in a mixed review which he wrote that \"while White Witch isn't a bad album, it falls short of the excellence her first album, More, More, More.\" He also stated that there are a few gems in the album \"including the Michael Zager-produced \"What's Your Name, What's Your Number\" and the exuberant, Gregg Diamond-produced \"N.Y., You Got Me Dancing\"\" according to him they're both \"exercises in unapologetically campy fun.\" He concluded that the album \"LP is strictly for diehard disco collectors.\"\n\nTrack listing\nsource:\n\nReferences\n\n1977 albums\nAndrea True albums\nBuddah Records albums", "Invitation to Hell is a 1982 horror film directed by Michael J. Murphy about Satan possessing several people at a countryside English estate.\n\nPlot\nLaura invites her college friend Jacky out to her country estate for a costume party. What Jacky does not know is that she is a pawn in a demonic game. That evening she is drugged and taken out to what appears to be a black magic altar. The next morning she awakens with claw-like scratches on her legs and, when she tries to escape, finds she is trapped in this location. But why are her friends keeping her here and who do they truly serve?\n\nCast\nBecky Simpson as Jacky\nJoseph Sheahan as Ed\nColin Efford as Maurice\nSteven Longhurst as Alan\nRussell Hall as Rick\nCatherine Rolands as Laura\nTina Barnett as Tina\n\nProduction\nInvitation to Hell was made specifically for the home video market as a double feature cassette. It was released on VHS alongside the Murphy co-feature The Last Night.\n\nRelease\nThe film was released on VHS in the United Kingdom by Scorpio Video in 1983. It was later released in the United States by Mogul Communications.\n\nAfter being released on a series of bootleg DVD releases, the film was officially released on DVD by Sarcophilous Films in 2008. This special edition release features both films and includes \"making of\" extras for both films.\n\nReferences\n\nExternal links \n\n1982 horror films\n1982 films\nBritish films\nBritish horror films\nBritish supernatural horror films\nFilms about Satanism" ]
[ "Edward Canby", "Early military career" ]	C_3389194542a545ab8922ed9233e24555_1	What was Edward Canby's rank in the early part of his career?	1	What was Edward Canby's rank in the early part of his military career?	Edward Canby	During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo [sic] Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857-1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. CANNOTANSWER	where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates.	Edward Richard Sprigg Canby (November 9, 1817 – April 11, 1873) was a career United States Army officer and a Union general in the American Civil War. In 1861–1862, Canby commanded the Department of New Mexico, defeating the Confederate General Henry Hopkins Sibley at the Battle of Glorieta Pass, forcing him to retreat to Texas. At the war's end, he took the surrender of Generals Richard Taylor and Edmund Kirby Smith. As commander of the Pacific Northwest in 1873, he was assassinated during peace talks with the Modoc, who were refusing to move from their California homelands. He was the only United States general to be killed during the Indian Wars. Canby was regarded as an administrator, more than a leader. General Ulysses S. Grant believed that he lacked aggression, but declared him irreplaceable for his knowledge of army regulations and constitutional law. Early life Canby was born in Piatt's Landing, Kentucky, to Israel T. and Elizabeth (Piatt) Canby. He attended Wabash College, but transferred to the United States Military Academy, from which he graduated in 1839. He was commissioned a second lieutenant in the 2nd U.S. Infantry and served as the regimental adjutant. Although he was often referred to as Edward Canby, a biographer has suggested that he was known as "Richard" during childhood and to some friends for most of his life. He was called "Sprigg" by fellow cadets at West Point, but during most of his career, he was generally referred to as E.R.S. Canby, sometimes signing his name "Ed. R.S. Canby." Marriage and family He married Louisa Hawkins at Crawfordsville, Indiana, August 1, 1839. She came from a family of three sisters and a brother, with whom she remained close. The Canbys had one child, a daughter, who did not survive childhood. Early military career During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican–American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belén Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857–1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. Civil War At the start of the Civil War, Canby commanded Fort Defiance, New Mexico Territory. He was promoted to colonel of the 19th U.S. Infantry on May 14, 1861, and the following month commanded the Department of New Mexico. His former assistant Sibley resigned to join the Confederate Army, becoming a Brigadier General. Although Sibley's Army of New Mexico defeated Canby and his troops in February 1862 at the Battle of Valverde, Canby eventually forced the Confederates to retreat to Texas after the Union's strategic victory at the Battle of Glorieta Pass. Immediately following this battle, Canby was promoted to brigadier general on March 31, 1862. Recombining the forces he had earlier divided, Canby set off in pursuit of the retreating Confederate forces, but he soon gave up the chase and allowed them to reach Texas. Shortly after the failure of the Confederate invasion of northern New Mexico, Canby was relieved of his command by Gen. James H. Carleton and reassigned to the east. Canby's achievement in New Mexico had largely been in his planning an overall defensive strategy. He and his opponent, Sibley, both had limited resources. Though Canby was a little better supplied, he saw that defending the entire territory from every possible attack would stretch his forces too thinly. Realizing that Sibley had to attack along a river, especially since New Mexico was in the middle of a long drought, Canby made the best use of his forces by defending against only two possible scenarios: an attack along the Rio Grande and an attack by way of the Pecos and Canadian rivers. He could easily shift the latter defensive force to protect Fort Union if the enemy attacked by way of the Rio Grande, which they did. Canby persuaded the governors of both New Mexico and Colorado to raise volunteer units to supplement regular Federal troops; the Colorado troops proved helpful at both Valverde and Glorieta. In spite of occasional superior soldiering by Confederate troops and junior commanders, Sibley's sluggishness and vacillation in executing a plan with high risk led to an almost inevitable Confederate collapse. After a period of clerical duty, Canby was assigned as "commanding general of the city and harbor of New York City" on July 17, 1863. This assignment followed the New York Draft Riots, which caused about 120 deaths and extensive property damage. He served until November 9, reviving the draft, and overseeing a prisoner of war camp in New York Harbor. He then went to work in the office of the Secretary of War, unofficially describing himself in correspondence as an "Assistant Adjutant General." Looking back on Canby's record, a 20th-century adjutant general, Edward F. Witsell, described Canby's position as "similar to that of an Assistant to the Secretary of the Army." In May 1864, Canby was promoted to major general and relieved Nathaniel P. Banks of his command at Simmesport, Louisiana. He next was assigned to the Midwest, where he commanded the Military Division of Western Mississippi. He was wounded in the upper thigh by a guerrilla while aboard the gunboat USS Cricket on the White River in Arkansas near Little Island on November 6, 1864. Canby commanded the Union forces assigned to conduct the campaign against Mobile, Alabama in the spring of 1865. This culminated in the Battle of Fort Blakeley, which led to the fall of Mobile on April 12, 1865. Canby accepted the surrender of the Confederate forces under General Richard Taylor in Citronelle, on May 4, 1865, and those under General Edmund Kirby Smith west of the Mississippi River on May 26, 1865. Canby was generally regarded as a great administrator, but he was criticized as a soldier. Ulysses S. Grant thought him not aggressive enough. At one time, Grant sent Canby an order to "destroy [the enemy's] railroads, machine-shops, &c." Ten days later, Grant reprimanded him for requesting men and materials to build railroads. "I wrote... urging you to... destroy railroads, machine-shops, &c., not to build them", Grant said. Canby could be a destroyer but appeared to prefer the role of builder. If someone had a question about army regulations or Constitutional law affecting the military, Canby was the man to see. Grant came to appreciate this in peace time, once complaining vigorously when President Andrew Johnson proposed to assign Canby away from the capital where Grant considered him irreplaceable. John D. Winters in The Civil War in Louisiana (1963) writes that Canby "lacked the social amenities" of Banks and appeared to most people as stern and taciturn." Winters quotes Treasury agent George S. Denison of New Orleans: General Canby is very active, but his work makes no great show as yet, because it is conducted too quietly and without ostentation. Canby is a tall man of thoughtful and kind face – speaks little and to the point – thoroughly a soldier and his manner is very modest and unassuming and sometimes even embarrassed. Canby's father had once owned slaves. Some of Canby's cousins fought for the Confederacy, and one was taken prisoner. The man's father wrote to Canby asking the general to use his influence to parole his son, but Canby declined, responding that he did not feel entitled to use his influence to benefit family members. Later, when Canby was a military governor during Reconstruction, he declined to favor relatives who had become carpetbaggers in his jurisdiction. Central Lunatic Asylum for Colored Insane In April 1869, Secretary of War Edwin Stanton appointed General Canby as military governor of Virginia. Soon after Canby arrived in Richmond, he confiscated each of the medical facilities in the city and converted them for use by the Union Army. In the next several months, Canby was made aware of the critical medical and economic plight of thousands of formerly enslaved blacks in the state uprooted by the Civil War. Canby had to decide how to provide blacks access to health and mental health services without violating the racial pecking order that existed in the South. One area in dispute was whether blacks would be allowed admission to the state's existing mental asylums at Williamsburg and Staunton. Racial integration of these two asylums had been debated in the legislature and the psychiatric community for over a decade. Dr. John Galt, superintendent of Eastern Lunatic Asylum at Williamsburg believed that free blacks and whites could be treated medically in the same facility as he had demonstrated. However, Dr. Francis Stribling, superintendent of Western Lunatic Asylum at Staunton refused to admit either free or enslaved blacks to his institution. Following the death of Galt, Stribling became chair of an asylum planning committee that advised Canby and the Freedman's Bureau on a permanent admission policy for the black population. Stribling proposed that Virginia should construct a separate asylum for the admission and treatment of blacks with lunacy. Canby accepted his recommendation and included it as the basis of his military order number 136, published in December 1869. Canby's order required continued utilization of a rented annex at Howard's Grove Hospital as the temporary psychiatric hospital for blacks until the state of Virginia could decide whether to maintain and expand it or construct a new facility. In June 1870 the Virginia legislature accepted ownership of the Central Lunatic Asylum for Colored Insane, the first standalone facility in the United States. It remained located at the Howard's Grove site until 1885, when a new facility was constructed in Dinwiddie County some 40 miles south of Richmond and renamed Central State Hospital. Canby should be credited with creating the first racially segregated mental hospital in the US for African Americans. The hospital remained segregated by race until passage of the Civil Rights Act of 1964. Post-war assignments After the war, Canby served as commander of various military departments during Reconstruction, as the government tried to manage dramatic social changes while securing peace. He commanded Louisiana from 1864 to May 1866. He was next assigned as commander of the Department of Washington, which consisted of Delaware, Maryland, the District of Columbia, and Alexandria and Fairfax counties in Virginia, from June 1866 until August 1867. He was assigned to the command of the Second Military District, comprising North and South Carolina. In August 1868, he briefly resumed command in Washington. He was assigned to the Fifth Military District in November, where he focused primarily on the reconstruction of Texas. He left Texas for Virginia, the First Military District, in April 1869, serving there until July 1870. Each of these postings occurred during Reconstruction and put Canby at the center of conflicts between Republicans and Democrats, whites and blacks, state and federal governments. New state legislatures were writing constitutions, and the social climate was highly volatile, with insurgent attacks against freedmen and Republicans on the rise in numerous areas. Many of his districts had Ku Klux Klan chapters, which the US government was not able to suppress until the early 1870s. Canby sometimes alienated one side or the other and often both. Charles W. Ramsdell called Canby "vigorous and firm, but just." Even political opponents, such as Jonathan Worth, governor of North Carolina, admitted that Canby was sincere and honest. Final assignment and death In August 1872, Canby was posted to command the Pacific Northwest. He soon faced problems with the Modoc tribe, who had historically lived in Northern California. Forced to remove to a reservation in Oregon which they had to share with their historical enemies, the Klamath tribe, they had pled with the US government to return to California. When the US refused, the Modoc left the reservation and returned illegally. In 1872, the US Army went to fight against them to force them back and the Modoc War broke out. The Modoc, entrenched in Captain Jack's Stronghold south of Tule Lake, resisted army attacks and fought US forces to a stalemate. General Canby had received conflicting orders from Washington as to whether to make peace or war on the Modoc. As war was not working, the US government authorized a peace commission and assigned Canby a key position on it. There were many lines of communication between the Modoc and whites. At one point, someone told the Modoc leader Captain Jack that the governor of Oregon intended to hang nine Modoc, apparently without trial, as soon as they surrendered. The Modoc broke off scheduled talks; Canby was angered by the rumors and their action, as he believed that his federal authority trumped the governor's and made the threat irrelevant. Canby had no intention of allowing the Modoc to be punished without a trial. On April 11, 1873, after months of false starts and aborted meetings, Canby went to another parley, unarmed and with some hope of final resolution. Judge Elijah Steele of Yreka, California wrote later that when he warned Canby that the Modoc were volatile and he was at risk, Canby replied, "I believe you are right, Mr. Steele, and I shall regard your advice, but it would not be very well for the general in command to be afraid to go where the peace commissioners would venture." The peace talks were held midway between the army encampment and Captain Jack's stronghold near Tule Lake. It was discovered later that two members of Canby's party brought concealed weapons and Modoc warriors were also armed. According to Jeff C. Riddle, the Modoc son of the US interpreter and the author of Indian History of the Modoc War (1914), the Modoc had plotted before the meeting to kill Canby and the other commissioners, as they believed peace was not possible. They were determined to "fight until we die." (He was the son of Winema and Frank Riddle.) Captain Jack had been reluctant to agree to the killings, believing it "coward's work", but was pressured by other warriors to agree. He insisted on being given another chance to ask Canby to "give us a home in our country." When Canby said he did not have the authority to make such a promise, Captain Jack attacked the general. With Ellen's Man, one of his lieutenants, he shot Canby twice in the head and cut his throat. The Modoc also killed Reverend Eleazar Thomas, a peace commissioner, and wounded others in the party. Canby was the only general to be killed during the Indian Wars. Aftermath Following Canby's death, national outrage was expressed against the Modoc. Eastern newspapers called for blood vengeance, except for one in Georgia, which headlined the story: "Captain Jack and Warriors Revenge the South By Murdering General Canby, One of Her Greatest Oppressors." E.C. Thomas, son of the murdered peace commissioner, recognized the inevitability of reprisals for the killings, but said: "To be sure, peace will come through war, but not by extermination." Eventually, Captain Jack (Kintpuash), Boston Charley, Schonchin John, and Black Jim were tried for murder, convicted, and executed on October 3, 1873. The surviving Modoc were sent to reservations. The killing of Canby, and the Great Sioux War, undermined public confidence in President Grant's peace policy, according to the historian Robert Utley. There was growing public sentiment for full defeat of the American Indians. After memorial services were performed on the West Coast, Canby's body was returned to Indiana and buried in Crown Hill Cemetery, Indianapolis, Indiana on May 23, 1873. At least four Union generals attended his funeral there: William Tecumseh Sherman, Philip Sheridan, Lew Wallace, and Irvin McDowell, and the latter two served among the pall bearers. A reporter noted that, although the funeral procession was generally reserved, "more than once, expressions of hatred toward the Modoc" marred the silence. Legacy and honors 1871, he was awarded an honorary degree by Wesleyan University of Middletown, Connecticut. 1875, Fort Canby, a coast defense installation guarding the entrance to the Columbia River, is named in his honor. 1880s, Canby's Cross was erected in his honor near the site of the peace talks, in the area later designated as the Lava Beds National Monument. The towns of Canby in Clackamas County, Oregon, Canby in Yellow Medicine County, Minnesota, and Canby in Modoc County, California, are named for him. Canby, Oregon's annual July 4th celebration used to be called General Canby Days, with activities including a pancake breakfast, car show, parade and music. Cultural depictions The 1954 Western Drum Beat depicted the 1873 Modoc War and Canby's death at the hands of Captain Jack at the peace conference. Canby was played by Warner Anderson and Captain Jack by Charles Bronson. Col. Canby is referred to in 1966 movie "The Good, the Bad and the Ugly" as a Confederate column is retreating through town. See also List of American Civil War generals (Union) Notes References Eicher, John H., and Eicher, David J., Civil War High Commands, Stanford University Press, 2001, . Heyman, Max L., Jr.: Prudent Soldier: A Biography of Major General ERS Canby, 1817-1873, Frontier Military Series III, Glendale, California: The Arthur H. Clark Co., 1959. "Canby, Edward Richard Sprigg, 1819[sic]-1873. Papers, 1837-1873", A\C214 (1 box, 146 items; Filson Historical Society Library: MS #118, includes contemporary newspaper accounts regarding General Canby's death and its aftermath). Riddle, Jeff C. (Charka) Davis. Indian History of the Modoc War, San Francisco: Marnell and Company, 1914, Internet Archive, online text External links "General Edward Richard Sprigg Canby," Chronicles of Boone County, Boone County Public Library (KY) Canby's Cross Commemorative Plaque 1817 births 1873 deaths Union Army generals People from Boone County, Kentucky American military personnel of the Mexican–American War People of the Modoc War American people of the Indian Wars Wesleyan University people United States Military Academy alumni People of New Mexico in the American Civil War American military personnel killed in the American Indian Wars American people of the Seminole Wars Burials at Crown Hill Cemetery Canby, Oregon Wabash College alumni	false	[ "Henry Seidel Canby (September 6, 1878 – April 5, 1961) was a critic, editor, and Yale University professor.\n\nA scion of a Quaker family that arrived in Wilmington, Delaware, around 1740 and grew to regional prominence through milling and business affairs, Henry Seidel Canby was a son of Edward T. Canby. Canby was born in Wilmington, and attended Wilmington Friends School. He graduated from Yale in 1899, then taught at the university until becoming a professor in 1922.\n\nFollowing a four-year stint as the editor of the Literary Review of the New York Evening Post, Canby became one of the founders and editors of the Saturday Review of Literature, serving as the last until 1936. His notes on the work of Vilfredo Pareto in 1933 in the Saturday Review helped launch the Pareto vogue of the 1930s. In 1926 Canby became Editorial Chair of the newly created Book of the Month Club. A Subscription book club intended to promote the notion of middlebrow culture. Though their premier selection was quite forward at the time.\n\nIn 1922 Canby, together with his wife Marion Ponsonby Gause Canby, Mason and Helen Fox Trowbridge, Beverly Waugh and Caroline (Lena) Jennings Kunkel, Henry Noble and Marjorie Dodd MacCracken, Lee Wilson and Marion Roberts Canby Dodd, and David Stanley and Cora Deming Welch Smith founded the Yelping Hill Association. A summer colony based on the Pocono Lake Preserve Quaker colony in Pennsylvania, where some of the families had summered in previous years. It was from his office, The Writer's Cramp, on Yelping Hill that Canby did much work for the Saturday Review of Literature and the Book of the Month Club. In his book American Memoir Canby reflects on his, and authors', work done in Cornwall citing that \"it is not too much to say that for some years at least the fate of a new book of importance was more dependent upon the Hills of Cornwall than upon anything else except its own merits.\"\n\nHe was the father of Edward Tatnall Canby (1912-1998), a noted reviewer, radio-show host, folklorist and early advocate of electronic music.\n\nBibliography\nCollege Sons and College Fathers (1915)\nEveryday Americans (1920)\nDefinitions: Essays in Contemporary Criticism (1922)\nAmerican Estimates (1929)\nClassic Americans (1931)\nThe Age of Confidence (1934)\nAlma Mater: The Gothic Age of the American College (1936)\nSeven Years Harvest (1936)\nThoreau (1939)\nWalt Whitman An American (1943)\nThe Brandywine (1941) (Part of the Rivers of America Series)\nAmerican Memoir (1947)\nIntroduction to Favorite Poems of Henry Wadsworth Longfellow (1947)\nTurn West, Turn East: Mark Twain and Henry James (1951)\n\nReferences\n\nExternal links\n \n \n \nInformation Please Almanac article on Henry Seidel Canby\nHervey Allen Papers, 1831-1965, SC.1952.01, Special Collections Department, University of Pittsburgh\nHenry Seidel Canby Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.\n\n \n\n \n \n \n\n1878 births\n1961 deaths\nYale University faculty", "Boston Charley (1854 – October 3, 1873) was an Indian warrior in the Modoc War of 1872. He was reportedly given the \"Boston\" moniker by miners who felt he had a lighter complexion than the other warriors. In 1873 he had joined the group led by Kintpuash, and was later involved in a massacre that killed fourteen people at Tule Lake. On April 11, 1873 he was part of a group that murdered Edward Canby. Charley did not personally kill Canby, but during the raid he killed a Dr. Thomas. On October 3, 1873, Boston Charley, Kintpuash, Schonchin John and Black Jim were executed for the murder of Edward Canby. He reportedly met his execution stoically, asking only for tobacco.\n\nSee also \nDeath of Edward Canby\n\nReferences\n\nGeneral references\n\nModoc people\nPeople of the Modoc War\n1854 births\n1873 deaths\n19th-century executions by the United States\nExecuted Native American people\nPeople executed for murder\n1873 murders in the United States\n19th-century Native Americans" ]
[ "Edward Canby", "Early military career", "What was Edward Canby's rank in the early part of his career?", "where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates." ]	C_3389194542a545ab8922ed9233e24555_1	Did he fight in any wars during his early career?	2	Did Edward Canby fight in any wars during his early career?	Edward Canby	During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo [sic] Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857-1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. CANNOTANSWER	Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War,	Edward Richard Sprigg Canby (November 9, 1817 – April 11, 1873) was a career United States Army officer and a Union general in the American Civil War. In 1861–1862, Canby commanded the Department of New Mexico, defeating the Confederate General Henry Hopkins Sibley at the Battle of Glorieta Pass, forcing him to retreat to Texas. At the war's end, he took the surrender of Generals Richard Taylor and Edmund Kirby Smith. As commander of the Pacific Northwest in 1873, he was assassinated during peace talks with the Modoc, who were refusing to move from their California homelands. He was the only United States general to be killed during the Indian Wars. Canby was regarded as an administrator, more than a leader. General Ulysses S. Grant believed that he lacked aggression, but declared him irreplaceable for his knowledge of army regulations and constitutional law. Early life Canby was born in Piatt's Landing, Kentucky, to Israel T. and Elizabeth (Piatt) Canby. He attended Wabash College, but transferred to the United States Military Academy, from which he graduated in 1839. He was commissioned a second lieutenant in the 2nd U.S. Infantry and served as the regimental adjutant. Although he was often referred to as Edward Canby, a biographer has suggested that he was known as "Richard" during childhood and to some friends for most of his life. He was called "Sprigg" by fellow cadets at West Point, but during most of his career, he was generally referred to as E.R.S. Canby, sometimes signing his name "Ed. R.S. Canby." Marriage and family He married Louisa Hawkins at Crawfordsville, Indiana, August 1, 1839. She came from a family of three sisters and a brother, with whom she remained close. The Canbys had one child, a daughter, who did not survive childhood. Early military career During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican–American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belén Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857–1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. Civil War At the start of the Civil War, Canby commanded Fort Defiance, New Mexico Territory. He was promoted to colonel of the 19th U.S. Infantry on May 14, 1861, and the following month commanded the Department of New Mexico. His former assistant Sibley resigned to join the Confederate Army, becoming a Brigadier General. Although Sibley's Army of New Mexico defeated Canby and his troops in February 1862 at the Battle of Valverde, Canby eventually forced the Confederates to retreat to Texas after the Union's strategic victory at the Battle of Glorieta Pass. Immediately following this battle, Canby was promoted to brigadier general on March 31, 1862. Recombining the forces he had earlier divided, Canby set off in pursuit of the retreating Confederate forces, but he soon gave up the chase and allowed them to reach Texas. Shortly after the failure of the Confederate invasion of northern New Mexico, Canby was relieved of his command by Gen. James H. Carleton and reassigned to the east. Canby's achievement in New Mexico had largely been in his planning an overall defensive strategy. He and his opponent, Sibley, both had limited resources. Though Canby was a little better supplied, he saw that defending the entire territory from every possible attack would stretch his forces too thinly. Realizing that Sibley had to attack along a river, especially since New Mexico was in the middle of a long drought, Canby made the best use of his forces by defending against only two possible scenarios: an attack along the Rio Grande and an attack by way of the Pecos and Canadian rivers. He could easily shift the latter defensive force to protect Fort Union if the enemy attacked by way of the Rio Grande, which they did. Canby persuaded the governors of both New Mexico and Colorado to raise volunteer units to supplement regular Federal troops; the Colorado troops proved helpful at both Valverde and Glorieta. In spite of occasional superior soldiering by Confederate troops and junior commanders, Sibley's sluggishness and vacillation in executing a plan with high risk led to an almost inevitable Confederate collapse. After a period of clerical duty, Canby was assigned as "commanding general of the city and harbor of New York City" on July 17, 1863. This assignment followed the New York Draft Riots, which caused about 120 deaths and extensive property damage. He served until November 9, reviving the draft, and overseeing a prisoner of war camp in New York Harbor. He then went to work in the office of the Secretary of War, unofficially describing himself in correspondence as an "Assistant Adjutant General." Looking back on Canby's record, a 20th-century adjutant general, Edward F. Witsell, described Canby's position as "similar to that of an Assistant to the Secretary of the Army." In May 1864, Canby was promoted to major general and relieved Nathaniel P. Banks of his command at Simmesport, Louisiana. He next was assigned to the Midwest, where he commanded the Military Division of Western Mississippi. He was wounded in the upper thigh by a guerrilla while aboard the gunboat USS Cricket on the White River in Arkansas near Little Island on November 6, 1864. Canby commanded the Union forces assigned to conduct the campaign against Mobile, Alabama in the spring of 1865. This culminated in the Battle of Fort Blakeley, which led to the fall of Mobile on April 12, 1865. Canby accepted the surrender of the Confederate forces under General Richard Taylor in Citronelle, on May 4, 1865, and those under General Edmund Kirby Smith west of the Mississippi River on May 26, 1865. Canby was generally regarded as a great administrator, but he was criticized as a soldier. Ulysses S. Grant thought him not aggressive enough. At one time, Grant sent Canby an order to "destroy [the enemy's] railroads, machine-shops, &c." Ten days later, Grant reprimanded him for requesting men and materials to build railroads. "I wrote... urging you to... destroy railroads, machine-shops, &c., not to build them", Grant said. Canby could be a destroyer but appeared to prefer the role of builder. If someone had a question about army regulations or Constitutional law affecting the military, Canby was the man to see. Grant came to appreciate this in peace time, once complaining vigorously when President Andrew Johnson proposed to assign Canby away from the capital where Grant considered him irreplaceable. John D. Winters in The Civil War in Louisiana (1963) writes that Canby "lacked the social amenities" of Banks and appeared to most people as stern and taciturn." Winters quotes Treasury agent George S. Denison of New Orleans: General Canby is very active, but his work makes no great show as yet, because it is conducted too quietly and without ostentation. Canby is a tall man of thoughtful and kind face – speaks little and to the point – thoroughly a soldier and his manner is very modest and unassuming and sometimes even embarrassed. Canby's father had once owned slaves. Some of Canby's cousins fought for the Confederacy, and one was taken prisoner. The man's father wrote to Canby asking the general to use his influence to parole his son, but Canby declined, responding that he did not feel entitled to use his influence to benefit family members. Later, when Canby was a military governor during Reconstruction, he declined to favor relatives who had become carpetbaggers in his jurisdiction. Central Lunatic Asylum for Colored Insane In April 1869, Secretary of War Edwin Stanton appointed General Canby as military governor of Virginia. Soon after Canby arrived in Richmond, he confiscated each of the medical facilities in the city and converted them for use by the Union Army. In the next several months, Canby was made aware of the critical medical and economic plight of thousands of formerly enslaved blacks in the state uprooted by the Civil War. Canby had to decide how to provide blacks access to health and mental health services without violating the racial pecking order that existed in the South. One area in dispute was whether blacks would be allowed admission to the state's existing mental asylums at Williamsburg and Staunton. Racial integration of these two asylums had been debated in the legislature and the psychiatric community for over a decade. Dr. John Galt, superintendent of Eastern Lunatic Asylum at Williamsburg believed that free blacks and whites could be treated medically in the same facility as he had demonstrated. However, Dr. Francis Stribling, superintendent of Western Lunatic Asylum at Staunton refused to admit either free or enslaved blacks to his institution. Following the death of Galt, Stribling became chair of an asylum planning committee that advised Canby and the Freedman's Bureau on a permanent admission policy for the black population. Stribling proposed that Virginia should construct a separate asylum for the admission and treatment of blacks with lunacy. Canby accepted his recommendation and included it as the basis of his military order number 136, published in December 1869. Canby's order required continued utilization of a rented annex at Howard's Grove Hospital as the temporary psychiatric hospital for blacks until the state of Virginia could decide whether to maintain and expand it or construct a new facility. In June 1870 the Virginia legislature accepted ownership of the Central Lunatic Asylum for Colored Insane, the first standalone facility in the United States. It remained located at the Howard's Grove site until 1885, when a new facility was constructed in Dinwiddie County some 40 miles south of Richmond and renamed Central State Hospital. Canby should be credited with creating the first racially segregated mental hospital in the US for African Americans. The hospital remained segregated by race until passage of the Civil Rights Act of 1964. Post-war assignments After the war, Canby served as commander of various military departments during Reconstruction, as the government tried to manage dramatic social changes while securing peace. He commanded Louisiana from 1864 to May 1866. He was next assigned as commander of the Department of Washington, which consisted of Delaware, Maryland, the District of Columbia, and Alexandria and Fairfax counties in Virginia, from June 1866 until August 1867. He was assigned to the command of the Second Military District, comprising North and South Carolina. In August 1868, he briefly resumed command in Washington. He was assigned to the Fifth Military District in November, where he focused primarily on the reconstruction of Texas. He left Texas for Virginia, the First Military District, in April 1869, serving there until July 1870. Each of these postings occurred during Reconstruction and put Canby at the center of conflicts between Republicans and Democrats, whites and blacks, state and federal governments. New state legislatures were writing constitutions, and the social climate was highly volatile, with insurgent attacks against freedmen and Republicans on the rise in numerous areas. Many of his districts had Ku Klux Klan chapters, which the US government was not able to suppress until the early 1870s. Canby sometimes alienated one side or the other and often both. Charles W. Ramsdell called Canby "vigorous and firm, but just." Even political opponents, such as Jonathan Worth, governor of North Carolina, admitted that Canby was sincere and honest. Final assignment and death In August 1872, Canby was posted to command the Pacific Northwest. He soon faced problems with the Modoc tribe, who had historically lived in Northern California. Forced to remove to a reservation in Oregon which they had to share with their historical enemies, the Klamath tribe, they had pled with the US government to return to California. When the US refused, the Modoc left the reservation and returned illegally. In 1872, the US Army went to fight against them to force them back and the Modoc War broke out. The Modoc, entrenched in Captain Jack's Stronghold south of Tule Lake, resisted army attacks and fought US forces to a stalemate. General Canby had received conflicting orders from Washington as to whether to make peace or war on the Modoc. As war was not working, the US government authorized a peace commission and assigned Canby a key position on it. There were many lines of communication between the Modoc and whites. At one point, someone told the Modoc leader Captain Jack that the governor of Oregon intended to hang nine Modoc, apparently without trial, as soon as they surrendered. The Modoc broke off scheduled talks; Canby was angered by the rumors and their action, as he believed that his federal authority trumped the governor's and made the threat irrelevant. Canby had no intention of allowing the Modoc to be punished without a trial. On April 11, 1873, after months of false starts and aborted meetings, Canby went to another parley, unarmed and with some hope of final resolution. Judge Elijah Steele of Yreka, California wrote later that when he warned Canby that the Modoc were volatile and he was at risk, Canby replied, "I believe you are right, Mr. Steele, and I shall regard your advice, but it would not be very well for the general in command to be afraid to go where the peace commissioners would venture." The peace talks were held midway between the army encampment and Captain Jack's stronghold near Tule Lake. It was discovered later that two members of Canby's party brought concealed weapons and Modoc warriors were also armed. According to Jeff C. Riddle, the Modoc son of the US interpreter and the author of Indian History of the Modoc War (1914), the Modoc had plotted before the meeting to kill Canby and the other commissioners, as they believed peace was not possible. They were determined to "fight until we die." (He was the son of Winema and Frank Riddle.) Captain Jack had been reluctant to agree to the killings, believing it "coward's work", but was pressured by other warriors to agree. He insisted on being given another chance to ask Canby to "give us a home in our country." When Canby said he did not have the authority to make such a promise, Captain Jack attacked the general. With Ellen's Man, one of his lieutenants, he shot Canby twice in the head and cut his throat. The Modoc also killed Reverend Eleazar Thomas, a peace commissioner, and wounded others in the party. Canby was the only general to be killed during the Indian Wars. Aftermath Following Canby's death, national outrage was expressed against the Modoc. Eastern newspapers called for blood vengeance, except for one in Georgia, which headlined the story: "Captain Jack and Warriors Revenge the South By Murdering General Canby, One of Her Greatest Oppressors." E.C. Thomas, son of the murdered peace commissioner, recognized the inevitability of reprisals for the killings, but said: "To be sure, peace will come through war, but not by extermination." Eventually, Captain Jack (Kintpuash), Boston Charley, Schonchin John, and Black Jim were tried for murder, convicted, and executed on October 3, 1873. The surviving Modoc were sent to reservations. The killing of Canby, and the Great Sioux War, undermined public confidence in President Grant's peace policy, according to the historian Robert Utley. There was growing public sentiment for full defeat of the American Indians. After memorial services were performed on the West Coast, Canby's body was returned to Indiana and buried in Crown Hill Cemetery, Indianapolis, Indiana on May 23, 1873. At least four Union generals attended his funeral there: William Tecumseh Sherman, Philip Sheridan, Lew Wallace, and Irvin McDowell, and the latter two served among the pall bearers. A reporter noted that, although the funeral procession was generally reserved, "more than once, expressions of hatred toward the Modoc" marred the silence. Legacy and honors 1871, he was awarded an honorary degree by Wesleyan University of Middletown, Connecticut. 1875, Fort Canby, a coast defense installation guarding the entrance to the Columbia River, is named in his honor. 1880s, Canby's Cross was erected in his honor near the site of the peace talks, in the area later designated as the Lava Beds National Monument. The towns of Canby in Clackamas County, Oregon, Canby in Yellow Medicine County, Minnesota, and Canby in Modoc County, California, are named for him. Canby, Oregon's annual July 4th celebration used to be called General Canby Days, with activities including a pancake breakfast, car show, parade and music. Cultural depictions The 1954 Western Drum Beat depicted the 1873 Modoc War and Canby's death at the hands of Captain Jack at the peace conference. Canby was played by Warner Anderson and Captain Jack by Charles Bronson. Col. Canby is referred to in 1966 movie "The Good, the Bad and the Ugly" as a Confederate column is retreating through town. See also List of American Civil War generals (Union) Notes References Eicher, John H., and Eicher, David J., Civil War High Commands, Stanford University Press, 2001, . Heyman, Max L., Jr.: Prudent Soldier: A Biography of Major General ERS Canby, 1817-1873, Frontier Military Series III, Glendale, California: The Arthur H. Clark Co., 1959. "Canby, Edward Richard Sprigg, 1819[sic]-1873. Papers, 1837-1873", A\C214 (1 box, 146 items; Filson Historical Society Library: MS #118, includes contemporary newspaper accounts regarding General Canby's death and its aftermath). Riddle, Jeff C. (Charka) Davis. Indian History of the Modoc War, San Francisco: Marnell and Company, 1914, Internet Archive, online text External links "General Edward Richard Sprigg Canby," Chronicles of Boone County, Boone County Public Library (KY) Canby's Cross Commemorative Plaque 1817 births 1873 deaths Union Army generals People from Boone County, Kentucky American military personnel of the Mexican–American War People of the Modoc War American people of the Indian Wars Wesleyan University people United States Military Academy alumni People of New Mexico in the American Civil War American military personnel killed in the American Indian Wars American people of the Seminole Wars Burials at Crown Hill Cemetery Canby, Oregon Wabash College alumni	false	[ "Karl Gustav von Strandmann (; 1786–1855) was a Russian German military officer, a general of the Imperial Russian Army. Born in the Governorate of Livonia to Gustav Ernst von Strandmann, governor-general of Siberia and a general of infantry of the Russian Army, Karl Gustav von Strandmann joined the Page Corps at an early age. He did not graduate from it however, as in 1803 he joined the Chevalier Guard Regiment to fight in the Napoleonic Wars. After the defeat of Napoleon Bonaparte, he took part in suppressing the November Uprising in Poland and continued to serve in various command duties until his death in 1855.\n\n1786 births\n1855 deaths\nImperial Russian Army generals\nRussian people of German descent\nRussian military personnel of the Napoleonic Wars", "Eugène-Guillaume Argenteau, comte de Mercy or Eugen Gillis Wilhelm Graf Mercy d'Argenteau (1743 – 4 May 1819) joined the Austrian army in 1760, became a general officer, and led large formations of soldiers in several actions during the French Revolutionary Wars and the Napoleonic Wars.\n\nEarly career\n\nBorn at Huy in the Austrian Netherlands in 1743, Argenteau joined the Mercy d'Argenteau Infantry Regiment Nr. 56 in 1760. That year he fought at the bloody Battle of Torgau. Before the Seven Years' War ended, he was present at the storming of Schweidnitz. Promoted to Major in 1773, he transferred to the Loudon Infantry Regiment Nr. 29. During the Austro-Turkish War (1787-1791), he led the 29th as their Oberst (colonel) and served with distinction at the Siege of Belgrade. In October 1789, he received promotion to General-major.\n\nFrench Revolutionary Wars\n\nIn 1793, Argenteau served in the Italian theater as chief of staff to Joseph De Vins, the Austrian army commander. Apparently, he did not get along with the officers of their ally, the Kingdom of Sardinia. He continued to fight in northwestern Italy and was involved in at least two small actions. The French drove his troops from their positions during the Battle of Loano on 23 November 1795. He was brought before a Court-martial, but acquitted and in March 1796 promoted to Feldmarchal-Leutnant.\n\nIn April 1796, he commanded the Right Wing under a new army commander, Johann Beaulieu, a fellow Walloon. During the Montenotte Campaign, the French army under Napoleon Bonaparte mauled Argenteau's wing at the battles of Montenotte and Dego. After these defeats, Beaulieu's army remained largely paralyzed as the French knocked the Kingdom of Sardinia-Piedmont out of the First Coalition. Despite these events, Argenteau received the Knight's Cross of the Military Order of Maria Theresa in May 1796.\n\nNapoleonic Wars\n\nIn 1805, Argenteau led a division in the army of Archduke Charles in northern Italy. At the Battle of Caldiero in October, he commanded five divisions of the Center of the army. At his retirement from military service in 1808, he was appointed Feldzeugmeister, full general. From 1809 until his death in 1819, he was proprietor (inhaber) of the Argenteau Infantry Regiment Nr. 35. He died in Vienna.\n\nNotes\n\nReferences\n Boycott-Brown, Martin. The Road to Rivoli. London: Cassell & Co., 2001. \n Chandler, David G. The Campaigns of Napoleon. New York: Macmillan, 1966.\n Smith, Digby. The Napoleonic Wars Data Book. London: Greenhill, 1998. \n Mercy d'Argenteau by Digby Smith, compiled by Leopold Kudrna\n\n1741 births\n1819 deaths\nPeople from Huy\nAustrian soldiers\nAustrian generals\nBelgian soldiers\nAustrian Empire commanders of the Napoleonic Wars\nAustrian Empire military leaders of the French Revolutionary Wars\nMilitary leaders of the French Revolutionary Wars" ]
[ "Edward Canby", "Early military career", "What was Edward Canby's rank in the early part of his career?", "where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates.", "Did he fight in any wars during his early career?", "Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War," ]	C_3389194542a545ab8922ed9233e24555_1	Did he fight in any other wars?	3	Besides the Seminole War and the Mexican-American War, did Edward Canby fight in any other wars?	Edward Canby	During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo [sic] Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857-1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. CANNOTANSWER	Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (	Edward Richard Sprigg Canby (November 9, 1817 – April 11, 1873) was a career United States Army officer and a Union general in the American Civil War. In 1861–1862, Canby commanded the Department of New Mexico, defeating the Confederate General Henry Hopkins Sibley at the Battle of Glorieta Pass, forcing him to retreat to Texas. At the war's end, he took the surrender of Generals Richard Taylor and Edmund Kirby Smith. As commander of the Pacific Northwest in 1873, he was assassinated during peace talks with the Modoc, who were refusing to move from their California homelands. He was the only United States general to be killed during the Indian Wars. Canby was regarded as an administrator, more than a leader. General Ulysses S. Grant believed that he lacked aggression, but declared him irreplaceable for his knowledge of army regulations and constitutional law. Early life Canby was born in Piatt's Landing, Kentucky, to Israel T. and Elizabeth (Piatt) Canby. He attended Wabash College, but transferred to the United States Military Academy, from which he graduated in 1839. He was commissioned a second lieutenant in the 2nd U.S. Infantry and served as the regimental adjutant. Although he was often referred to as Edward Canby, a biographer has suggested that he was known as "Richard" during childhood and to some friends for most of his life. He was called "Sprigg" by fellow cadets at West Point, but during most of his career, he was generally referred to as E.R.S. Canby, sometimes signing his name "Ed. R.S. Canby." Marriage and family He married Louisa Hawkins at Crawfordsville, Indiana, August 1, 1839. She came from a family of three sisters and a brother, with whom she remained close. The Canbys had one child, a daughter, who did not survive childhood. Early military career During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican–American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belén Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857–1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. Civil War At the start of the Civil War, Canby commanded Fort Defiance, New Mexico Territory. He was promoted to colonel of the 19th U.S. Infantry on May 14, 1861, and the following month commanded the Department of New Mexico. His former assistant Sibley resigned to join the Confederate Army, becoming a Brigadier General. Although Sibley's Army of New Mexico defeated Canby and his troops in February 1862 at the Battle of Valverde, Canby eventually forced the Confederates to retreat to Texas after the Union's strategic victory at the Battle of Glorieta Pass. Immediately following this battle, Canby was promoted to brigadier general on March 31, 1862. Recombining the forces he had earlier divided, Canby set off in pursuit of the retreating Confederate forces, but he soon gave up the chase and allowed them to reach Texas. Shortly after the failure of the Confederate invasion of northern New Mexico, Canby was relieved of his command by Gen. James H. Carleton and reassigned to the east. Canby's achievement in New Mexico had largely been in his planning an overall defensive strategy. He and his opponent, Sibley, both had limited resources. Though Canby was a little better supplied, he saw that defending the entire territory from every possible attack would stretch his forces too thinly. Realizing that Sibley had to attack along a river, especially since New Mexico was in the middle of a long drought, Canby made the best use of his forces by defending against only two possible scenarios: an attack along the Rio Grande and an attack by way of the Pecos and Canadian rivers. He could easily shift the latter defensive force to protect Fort Union if the enemy attacked by way of the Rio Grande, which they did. Canby persuaded the governors of both New Mexico and Colorado to raise volunteer units to supplement regular Federal troops; the Colorado troops proved helpful at both Valverde and Glorieta. In spite of occasional superior soldiering by Confederate troops and junior commanders, Sibley's sluggishness and vacillation in executing a plan with high risk led to an almost inevitable Confederate collapse. After a period of clerical duty, Canby was assigned as "commanding general of the city and harbor of New York City" on July 17, 1863. This assignment followed the New York Draft Riots, which caused about 120 deaths and extensive property damage. He served until November 9, reviving the draft, and overseeing a prisoner of war camp in New York Harbor. He then went to work in the office of the Secretary of War, unofficially describing himself in correspondence as an "Assistant Adjutant General." Looking back on Canby's record, a 20th-century adjutant general, Edward F. Witsell, described Canby's position as "similar to that of an Assistant to the Secretary of the Army." In May 1864, Canby was promoted to major general and relieved Nathaniel P. Banks of his command at Simmesport, Louisiana. He next was assigned to the Midwest, where he commanded the Military Division of Western Mississippi. He was wounded in the upper thigh by a guerrilla while aboard the gunboat USS Cricket on the White River in Arkansas near Little Island on November 6, 1864. Canby commanded the Union forces assigned to conduct the campaign against Mobile, Alabama in the spring of 1865. This culminated in the Battle of Fort Blakeley, which led to the fall of Mobile on April 12, 1865. Canby accepted the surrender of the Confederate forces under General Richard Taylor in Citronelle, on May 4, 1865, and those under General Edmund Kirby Smith west of the Mississippi River on May 26, 1865. Canby was generally regarded as a great administrator, but he was criticized as a soldier. Ulysses S. Grant thought him not aggressive enough. At one time, Grant sent Canby an order to "destroy [the enemy's] railroads, machine-shops, &c." Ten days later, Grant reprimanded him for requesting men and materials to build railroads. "I wrote... urging you to... destroy railroads, machine-shops, &c., not to build them", Grant said. Canby could be a destroyer but appeared to prefer the role of builder. If someone had a question about army regulations or Constitutional law affecting the military, Canby was the man to see. Grant came to appreciate this in peace time, once complaining vigorously when President Andrew Johnson proposed to assign Canby away from the capital where Grant considered him irreplaceable. John D. Winters in The Civil War in Louisiana (1963) writes that Canby "lacked the social amenities" of Banks and appeared to most people as stern and taciturn." Winters quotes Treasury agent George S. Denison of New Orleans: General Canby is very active, but his work makes no great show as yet, because it is conducted too quietly and without ostentation. Canby is a tall man of thoughtful and kind face – speaks little and to the point – thoroughly a soldier and his manner is very modest and unassuming and sometimes even embarrassed. Canby's father had once owned slaves. Some of Canby's cousins fought for the Confederacy, and one was taken prisoner. The man's father wrote to Canby asking the general to use his influence to parole his son, but Canby declined, responding that he did not feel entitled to use his influence to benefit family members. Later, when Canby was a military governor during Reconstruction, he declined to favor relatives who had become carpetbaggers in his jurisdiction. Central Lunatic Asylum for Colored Insane In April 1869, Secretary of War Edwin Stanton appointed General Canby as military governor of Virginia. Soon after Canby arrived in Richmond, he confiscated each of the medical facilities in the city and converted them for use by the Union Army. In the next several months, Canby was made aware of the critical medical and economic plight of thousands of formerly enslaved blacks in the state uprooted by the Civil War. Canby had to decide how to provide blacks access to health and mental health services without violating the racial pecking order that existed in the South. One area in dispute was whether blacks would be allowed admission to the state's existing mental asylums at Williamsburg and Staunton. Racial integration of these two asylums had been debated in the legislature and the psychiatric community for over a decade. Dr. John Galt, superintendent of Eastern Lunatic Asylum at Williamsburg believed that free blacks and whites could be treated medically in the same facility as he had demonstrated. However, Dr. Francis Stribling, superintendent of Western Lunatic Asylum at Staunton refused to admit either free or enslaved blacks to his institution. Following the death of Galt, Stribling became chair of an asylum planning committee that advised Canby and the Freedman's Bureau on a permanent admission policy for the black population. Stribling proposed that Virginia should construct a separate asylum for the admission and treatment of blacks with lunacy. Canby accepted his recommendation and included it as the basis of his military order number 136, published in December 1869. Canby's order required continued utilization of a rented annex at Howard's Grove Hospital as the temporary psychiatric hospital for blacks until the state of Virginia could decide whether to maintain and expand it or construct a new facility. In June 1870 the Virginia legislature accepted ownership of the Central Lunatic Asylum for Colored Insane, the first standalone facility in the United States. It remained located at the Howard's Grove site until 1885, when a new facility was constructed in Dinwiddie County some 40 miles south of Richmond and renamed Central State Hospital. Canby should be credited with creating the first racially segregated mental hospital in the US for African Americans. The hospital remained segregated by race until passage of the Civil Rights Act of 1964. Post-war assignments After the war, Canby served as commander of various military departments during Reconstruction, as the government tried to manage dramatic social changes while securing peace. He commanded Louisiana from 1864 to May 1866. He was next assigned as commander of the Department of Washington, which consisted of Delaware, Maryland, the District of Columbia, and Alexandria and Fairfax counties in Virginia, from June 1866 until August 1867. He was assigned to the command of the Second Military District, comprising North and South Carolina. In August 1868, he briefly resumed command in Washington. He was assigned to the Fifth Military District in November, where he focused primarily on the reconstruction of Texas. He left Texas for Virginia, the First Military District, in April 1869, serving there until July 1870. Each of these postings occurred during Reconstruction and put Canby at the center of conflicts between Republicans and Democrats, whites and blacks, state and federal governments. New state legislatures were writing constitutions, and the social climate was highly volatile, with insurgent attacks against freedmen and Republicans on the rise in numerous areas. Many of his districts had Ku Klux Klan chapters, which the US government was not able to suppress until the early 1870s. Canby sometimes alienated one side or the other and often both. Charles W. Ramsdell called Canby "vigorous and firm, but just." Even political opponents, such as Jonathan Worth, governor of North Carolina, admitted that Canby was sincere and honest. Final assignment and death In August 1872, Canby was posted to command the Pacific Northwest. He soon faced problems with the Modoc tribe, who had historically lived in Northern California. Forced to remove to a reservation in Oregon which they had to share with their historical enemies, the Klamath tribe, they had pled with the US government to return to California. When the US refused, the Modoc left the reservation and returned illegally. In 1872, the US Army went to fight against them to force them back and the Modoc War broke out. The Modoc, entrenched in Captain Jack's Stronghold south of Tule Lake, resisted army attacks and fought US forces to a stalemate. General Canby had received conflicting orders from Washington as to whether to make peace or war on the Modoc. As war was not working, the US government authorized a peace commission and assigned Canby a key position on it. There were many lines of communication between the Modoc and whites. At one point, someone told the Modoc leader Captain Jack that the governor of Oregon intended to hang nine Modoc, apparently without trial, as soon as they surrendered. The Modoc broke off scheduled talks; Canby was angered by the rumors and their action, as he believed that his federal authority trumped the governor's and made the threat irrelevant. Canby had no intention of allowing the Modoc to be punished without a trial. On April 11, 1873, after months of false starts and aborted meetings, Canby went to another parley, unarmed and with some hope of final resolution. Judge Elijah Steele of Yreka, California wrote later that when he warned Canby that the Modoc were volatile and he was at risk, Canby replied, "I believe you are right, Mr. Steele, and I shall regard your advice, but it would not be very well for the general in command to be afraid to go where the peace commissioners would venture." The peace talks were held midway between the army encampment and Captain Jack's stronghold near Tule Lake. It was discovered later that two members of Canby's party brought concealed weapons and Modoc warriors were also armed. According to Jeff C. Riddle, the Modoc son of the US interpreter and the author of Indian History of the Modoc War (1914), the Modoc had plotted before the meeting to kill Canby and the other commissioners, as they believed peace was not possible. They were determined to "fight until we die." (He was the son of Winema and Frank Riddle.) Captain Jack had been reluctant to agree to the killings, believing it "coward's work", but was pressured by other warriors to agree. He insisted on being given another chance to ask Canby to "give us a home in our country." When Canby said he did not have the authority to make such a promise, Captain Jack attacked the general. With Ellen's Man, one of his lieutenants, he shot Canby twice in the head and cut his throat. The Modoc also killed Reverend Eleazar Thomas, a peace commissioner, and wounded others in the party. Canby was the only general to be killed during the Indian Wars. Aftermath Following Canby's death, national outrage was expressed against the Modoc. Eastern newspapers called for blood vengeance, except for one in Georgia, which headlined the story: "Captain Jack and Warriors Revenge the South By Murdering General Canby, One of Her Greatest Oppressors." E.C. Thomas, son of the murdered peace commissioner, recognized the inevitability of reprisals for the killings, but said: "To be sure, peace will come through war, but not by extermination." Eventually, Captain Jack (Kintpuash), Boston Charley, Schonchin John, and Black Jim were tried for murder, convicted, and executed on October 3, 1873. The surviving Modoc were sent to reservations. The killing of Canby, and the Great Sioux War, undermined public confidence in President Grant's peace policy, according to the historian Robert Utley. There was growing public sentiment for full defeat of the American Indians. After memorial services were performed on the West Coast, Canby's body was returned to Indiana and buried in Crown Hill Cemetery, Indianapolis, Indiana on May 23, 1873. At least four Union generals attended his funeral there: William Tecumseh Sherman, Philip Sheridan, Lew Wallace, and Irvin McDowell, and the latter two served among the pall bearers. A reporter noted that, although the funeral procession was generally reserved, "more than once, expressions of hatred toward the Modoc" marred the silence. Legacy and honors 1871, he was awarded an honorary degree by Wesleyan University of Middletown, Connecticut. 1875, Fort Canby, a coast defense installation guarding the entrance to the Columbia River, is named in his honor. 1880s, Canby's Cross was erected in his honor near the site of the peace talks, in the area later designated as the Lava Beds National Monument. The towns of Canby in Clackamas County, Oregon, Canby in Yellow Medicine County, Minnesota, and Canby in Modoc County, California, are named for him. Canby, Oregon's annual July 4th celebration used to be called General Canby Days, with activities including a pancake breakfast, car show, parade and music. Cultural depictions The 1954 Western Drum Beat depicted the 1873 Modoc War and Canby's death at the hands of Captain Jack at the peace conference. Canby was played by Warner Anderson and Captain Jack by Charles Bronson. Col. Canby is referred to in 1966 movie "The Good, the Bad and the Ugly" as a Confederate column is retreating through town. See also List of American Civil War generals (Union) Notes References Eicher, John H., and Eicher, David J., Civil War High Commands, Stanford University Press, 2001, . Heyman, Max L., Jr.: Prudent Soldier: A Biography of Major General ERS Canby, 1817-1873, Frontier Military Series III, Glendale, California: The Arthur H. Clark Co., 1959. "Canby, Edward Richard Sprigg, 1819[sic]-1873. Papers, 1837-1873", A\C214 (1 box, 146 items; Filson Historical Society Library: MS #118, includes contemporary newspaper accounts regarding General Canby's death and its aftermath). Riddle, Jeff C. (Charka) Davis. Indian History of the Modoc War, San Francisco: Marnell and Company, 1914, Internet Archive, online text External links "General Edward Richard Sprigg Canby," Chronicles of Boone County, Boone County Public Library (KY) Canby's Cross Commemorative Plaque 1817 births 1873 deaths Union Army generals People from Boone County, Kentucky American military personnel of the Mexican–American War People of the Modoc War American people of the Indian Wars Wesleyan University people United States Military Academy alumni People of New Mexico in the American Civil War American military personnel killed in the American Indian Wars American people of the Seminole Wars Burials at Crown Hill Cemetery Canby, Oregon Wabash College alumni	true	[ "This is a list of wars fought by Romania since 1859:\n\nThe United Principalities of Moldavia and Wallachia (1859–1862) \n\nThe United Principalities of Moldavia and Wallachia did not participate in any wars.\n\nRomanian United Principalities (1862–1866) \n\nThe Romanian United Principalities did not participate in any wars.\n\nPrincipality of Romania (1866–1881)\n\nKingdom of Romania (1881–1947)\n\nRomanian People's Republic (1947–1965)\n\nSocialist Republic of Romania (1965–1989)\n\nPost-communist Romania (since 1989)\n\nReferences \n\n \nRomania\nWars", "Karl Gustav von Strandmann (; 1786–1855) was a Russian German military officer, a general of the Imperial Russian Army. Born in the Governorate of Livonia to Gustav Ernst von Strandmann, governor-general of Siberia and a general of infantry of the Russian Army, Karl Gustav von Strandmann joined the Page Corps at an early age. He did not graduate from it however, as in 1803 he joined the Chevalier Guard Regiment to fight in the Napoleonic Wars. After the defeat of Napoleon Bonaparte, he took part in suppressing the November Uprising in Poland and continued to serve in various command duties until his death in 1855.\n\n1786 births\n1855 deaths\nImperial Russian Army generals\nRussian people of German descent\nRussian military personnel of the Napoleonic Wars" ]
[ "Edward Canby", "Early military career", "What was Edward Canby's rank in the early part of his career?", "where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates.", "Did he fight in any wars during his early career?", "Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War,", "Did he fight in any other wars?", "Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (" ]	C_3389194542a545ab8922ed9233e24555_1	Did anything notable happen during the Utah War?	4	In regards to Edward Canby, did anything notable happen during the Utah War?	Edward Canby	During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo [sic] Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857-1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. CANNOTANSWER	During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted.	Edward Richard Sprigg Canby (November 9, 1817 – April 11, 1873) was a career United States Army officer and a Union general in the American Civil War. In 1861–1862, Canby commanded the Department of New Mexico, defeating the Confederate General Henry Hopkins Sibley at the Battle of Glorieta Pass, forcing him to retreat to Texas. At the war's end, he took the surrender of Generals Richard Taylor and Edmund Kirby Smith. As commander of the Pacific Northwest in 1873, he was assassinated during peace talks with the Modoc, who were refusing to move from their California homelands. He was the only United States general to be killed during the Indian Wars. Canby was regarded as an administrator, more than a leader. General Ulysses S. Grant believed that he lacked aggression, but declared him irreplaceable for his knowledge of army regulations and constitutional law. Early life Canby was born in Piatt's Landing, Kentucky, to Israel T. and Elizabeth (Piatt) Canby. He attended Wabash College, but transferred to the United States Military Academy, from which he graduated in 1839. He was commissioned a second lieutenant in the 2nd U.S. Infantry and served as the regimental adjutant. Although he was often referred to as Edward Canby, a biographer has suggested that he was known as "Richard" during childhood and to some friends for most of his life. He was called "Sprigg" by fellow cadets at West Point, but during most of his career, he was generally referred to as E.R.S. Canby, sometimes signing his name "Ed. R.S. Canby." Marriage and family He married Louisa Hawkins at Crawfordsville, Indiana, August 1, 1839. She came from a family of three sisters and a brother, with whom she remained close. The Canbys had one child, a daughter, who did not survive childhood. Early military career During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican–American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belén Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857–1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. Civil War At the start of the Civil War, Canby commanded Fort Defiance, New Mexico Territory. He was promoted to colonel of the 19th U.S. Infantry on May 14, 1861, and the following month commanded the Department of New Mexico. His former assistant Sibley resigned to join the Confederate Army, becoming a Brigadier General. Although Sibley's Army of New Mexico defeated Canby and his troops in February 1862 at the Battle of Valverde, Canby eventually forced the Confederates to retreat to Texas after the Union's strategic victory at the Battle of Glorieta Pass. Immediately following this battle, Canby was promoted to brigadier general on March 31, 1862. Recombining the forces he had earlier divided, Canby set off in pursuit of the retreating Confederate forces, but he soon gave up the chase and allowed them to reach Texas. Shortly after the failure of the Confederate invasion of northern New Mexico, Canby was relieved of his command by Gen. James H. Carleton and reassigned to the east. Canby's achievement in New Mexico had largely been in his planning an overall defensive strategy. He and his opponent, Sibley, both had limited resources. Though Canby was a little better supplied, he saw that defending the entire territory from every possible attack would stretch his forces too thinly. Realizing that Sibley had to attack along a river, especially since New Mexico was in the middle of a long drought, Canby made the best use of his forces by defending against only two possible scenarios: an attack along the Rio Grande and an attack by way of the Pecos and Canadian rivers. He could easily shift the latter defensive force to protect Fort Union if the enemy attacked by way of the Rio Grande, which they did. Canby persuaded the governors of both New Mexico and Colorado to raise volunteer units to supplement regular Federal troops; the Colorado troops proved helpful at both Valverde and Glorieta. In spite of occasional superior soldiering by Confederate troops and junior commanders, Sibley's sluggishness and vacillation in executing a plan with high risk led to an almost inevitable Confederate collapse. After a period of clerical duty, Canby was assigned as "commanding general of the city and harbor of New York City" on July 17, 1863. This assignment followed the New York Draft Riots, which caused about 120 deaths and extensive property damage. He served until November 9, reviving the draft, and overseeing a prisoner of war camp in New York Harbor. He then went to work in the office of the Secretary of War, unofficially describing himself in correspondence as an "Assistant Adjutant General." Looking back on Canby's record, a 20th-century adjutant general, Edward F. Witsell, described Canby's position as "similar to that of an Assistant to the Secretary of the Army." In May 1864, Canby was promoted to major general and relieved Nathaniel P. Banks of his command at Simmesport, Louisiana. He next was assigned to the Midwest, where he commanded the Military Division of Western Mississippi. He was wounded in the upper thigh by a guerrilla while aboard the gunboat USS Cricket on the White River in Arkansas near Little Island on November 6, 1864. Canby commanded the Union forces assigned to conduct the campaign against Mobile, Alabama in the spring of 1865. This culminated in the Battle of Fort Blakeley, which led to the fall of Mobile on April 12, 1865. Canby accepted the surrender of the Confederate forces under General Richard Taylor in Citronelle, on May 4, 1865, and those under General Edmund Kirby Smith west of the Mississippi River on May 26, 1865. Canby was generally regarded as a great administrator, but he was criticized as a soldier. Ulysses S. Grant thought him not aggressive enough. At one time, Grant sent Canby an order to "destroy [the enemy's] railroads, machine-shops, &c." Ten days later, Grant reprimanded him for requesting men and materials to build railroads. "I wrote... urging you to... destroy railroads, machine-shops, &c., not to build them", Grant said. Canby could be a destroyer but appeared to prefer the role of builder. If someone had a question about army regulations or Constitutional law affecting the military, Canby was the man to see. Grant came to appreciate this in peace time, once complaining vigorously when President Andrew Johnson proposed to assign Canby away from the capital where Grant considered him irreplaceable. John D. Winters in The Civil War in Louisiana (1963) writes that Canby "lacked the social amenities" of Banks and appeared to most people as stern and taciturn." Winters quotes Treasury agent George S. Denison of New Orleans: General Canby is very active, but his work makes no great show as yet, because it is conducted too quietly and without ostentation. Canby is a tall man of thoughtful and kind face – speaks little and to the point – thoroughly a soldier and his manner is very modest and unassuming and sometimes even embarrassed. Canby's father had once owned slaves. Some of Canby's cousins fought for the Confederacy, and one was taken prisoner. The man's father wrote to Canby asking the general to use his influence to parole his son, but Canby declined, responding that he did not feel entitled to use his influence to benefit family members. Later, when Canby was a military governor during Reconstruction, he declined to favor relatives who had become carpetbaggers in his jurisdiction. Central Lunatic Asylum for Colored Insane In April 1869, Secretary of War Edwin Stanton appointed General Canby as military governor of Virginia. Soon after Canby arrived in Richmond, he confiscated each of the medical facilities in the city and converted them for use by the Union Army. In the next several months, Canby was made aware of the critical medical and economic plight of thousands of formerly enslaved blacks in the state uprooted by the Civil War. Canby had to decide how to provide blacks access to health and mental health services without violating the racial pecking order that existed in the South. One area in dispute was whether blacks would be allowed admission to the state's existing mental asylums at Williamsburg and Staunton. Racial integration of these two asylums had been debated in the legislature and the psychiatric community for over a decade. Dr. John Galt, superintendent of Eastern Lunatic Asylum at Williamsburg believed that free blacks and whites could be treated medically in the same facility as he had demonstrated. However, Dr. Francis Stribling, superintendent of Western Lunatic Asylum at Staunton refused to admit either free or enslaved blacks to his institution. Following the death of Galt, Stribling became chair of an asylum planning committee that advised Canby and the Freedman's Bureau on a permanent admission policy for the black population. Stribling proposed that Virginia should construct a separate asylum for the admission and treatment of blacks with lunacy. Canby accepted his recommendation and included it as the basis of his military order number 136, published in December 1869. Canby's order required continued utilization of a rented annex at Howard's Grove Hospital as the temporary psychiatric hospital for blacks until the state of Virginia could decide whether to maintain and expand it or construct a new facility. In June 1870 the Virginia legislature accepted ownership of the Central Lunatic Asylum for Colored Insane, the first standalone facility in the United States. It remained located at the Howard's Grove site until 1885, when a new facility was constructed in Dinwiddie County some 40 miles south of Richmond and renamed Central State Hospital. Canby should be credited with creating the first racially segregated mental hospital in the US for African Americans. The hospital remained segregated by race until passage of the Civil Rights Act of 1964. Post-war assignments After the war, Canby served as commander of various military departments during Reconstruction, as the government tried to manage dramatic social changes while securing peace. He commanded Louisiana from 1864 to May 1866. He was next assigned as commander of the Department of Washington, which consisted of Delaware, Maryland, the District of Columbia, and Alexandria and Fairfax counties in Virginia, from June 1866 until August 1867. He was assigned to the command of the Second Military District, comprising North and South Carolina. In August 1868, he briefly resumed command in Washington. He was assigned to the Fifth Military District in November, where he focused primarily on the reconstruction of Texas. He left Texas for Virginia, the First Military District, in April 1869, serving there until July 1870. Each of these postings occurred during Reconstruction and put Canby at the center of conflicts between Republicans and Democrats, whites and blacks, state and federal governments. New state legislatures were writing constitutions, and the social climate was highly volatile, with insurgent attacks against freedmen and Republicans on the rise in numerous areas. Many of his districts had Ku Klux Klan chapters, which the US government was not able to suppress until the early 1870s. Canby sometimes alienated one side or the other and often both. Charles W. Ramsdell called Canby "vigorous and firm, but just." Even political opponents, such as Jonathan Worth, governor of North Carolina, admitted that Canby was sincere and honest. Final assignment and death In August 1872, Canby was posted to command the Pacific Northwest. He soon faced problems with the Modoc tribe, who had historically lived in Northern California. Forced to remove to a reservation in Oregon which they had to share with their historical enemies, the Klamath tribe, they had pled with the US government to return to California. When the US refused, the Modoc left the reservation and returned illegally. In 1872, the US Army went to fight against them to force them back and the Modoc War broke out. The Modoc, entrenched in Captain Jack's Stronghold south of Tule Lake, resisted army attacks and fought US forces to a stalemate. General Canby had received conflicting orders from Washington as to whether to make peace or war on the Modoc. As war was not working, the US government authorized a peace commission and assigned Canby a key position on it. There were many lines of communication between the Modoc and whites. At one point, someone told the Modoc leader Captain Jack that the governor of Oregon intended to hang nine Modoc, apparently without trial, as soon as they surrendered. The Modoc broke off scheduled talks; Canby was angered by the rumors and their action, as he believed that his federal authority trumped the governor's and made the threat irrelevant. Canby had no intention of allowing the Modoc to be punished without a trial. On April 11, 1873, after months of false starts and aborted meetings, Canby went to another parley, unarmed and with some hope of final resolution. Judge Elijah Steele of Yreka, California wrote later that when he warned Canby that the Modoc were volatile and he was at risk, Canby replied, "I believe you are right, Mr. Steele, and I shall regard your advice, but it would not be very well for the general in command to be afraid to go where the peace commissioners would venture." The peace talks were held midway between the army encampment and Captain Jack's stronghold near Tule Lake. It was discovered later that two members of Canby's party brought concealed weapons and Modoc warriors were also armed. According to Jeff C. Riddle, the Modoc son of the US interpreter and the author of Indian History of the Modoc War (1914), the Modoc had plotted before the meeting to kill Canby and the other commissioners, as they believed peace was not possible. They were determined to "fight until we die." (He was the son of Winema and Frank Riddle.) Captain Jack had been reluctant to agree to the killings, believing it "coward's work", but was pressured by other warriors to agree. He insisted on being given another chance to ask Canby to "give us a home in our country." When Canby said he did not have the authority to make such a promise, Captain Jack attacked the general. With Ellen's Man, one of his lieutenants, he shot Canby twice in the head and cut his throat. The Modoc also killed Reverend Eleazar Thomas, a peace commissioner, and wounded others in the party. Canby was the only general to be killed during the Indian Wars. Aftermath Following Canby's death, national outrage was expressed against the Modoc. Eastern newspapers called for blood vengeance, except for one in Georgia, which headlined the story: "Captain Jack and Warriors Revenge the South By Murdering General Canby, One of Her Greatest Oppressors." E.C. Thomas, son of the murdered peace commissioner, recognized the inevitability of reprisals for the killings, but said: "To be sure, peace will come through war, but not by extermination." Eventually, Captain Jack (Kintpuash), Boston Charley, Schonchin John, and Black Jim were tried for murder, convicted, and executed on October 3, 1873. The surviving Modoc were sent to reservations. The killing of Canby, and the Great Sioux War, undermined public confidence in President Grant's peace policy, according to the historian Robert Utley. There was growing public sentiment for full defeat of the American Indians. After memorial services were performed on the West Coast, Canby's body was returned to Indiana and buried in Crown Hill Cemetery, Indianapolis, Indiana on May 23, 1873. At least four Union generals attended his funeral there: William Tecumseh Sherman, Philip Sheridan, Lew Wallace, and Irvin McDowell, and the latter two served among the pall bearers. A reporter noted that, although the funeral procession was generally reserved, "more than once, expressions of hatred toward the Modoc" marred the silence. Legacy and honors 1871, he was awarded an honorary degree by Wesleyan University of Middletown, Connecticut. 1875, Fort Canby, a coast defense installation guarding the entrance to the Columbia River, is named in his honor. 1880s, Canby's Cross was erected in his honor near the site of the peace talks, in the area later designated as the Lava Beds National Monument. The towns of Canby in Clackamas County, Oregon, Canby in Yellow Medicine County, Minnesota, and Canby in Modoc County, California, are named for him. Canby, Oregon's annual July 4th celebration used to be called General Canby Days, with activities including a pancake breakfast, car show, parade and music. Cultural depictions The 1954 Western Drum Beat depicted the 1873 Modoc War and Canby's death at the hands of Captain Jack at the peace conference. Canby was played by Warner Anderson and Captain Jack by Charles Bronson. Col. Canby is referred to in 1966 movie "The Good, the Bad and the Ugly" as a Confederate column is retreating through town. See also List of American Civil War generals (Union) Notes References Eicher, John H., and Eicher, David J., Civil War High Commands, Stanford University Press, 2001, . Heyman, Max L., Jr.: Prudent Soldier: A Biography of Major General ERS Canby, 1817-1873, Frontier Military Series III, Glendale, California: The Arthur H. Clark Co., 1959. "Canby, Edward Richard Sprigg, 1819[sic]-1873. Papers, 1837-1873", A\C214 (1 box, 146 items; Filson Historical Society Library: MS #118, includes contemporary newspaper accounts regarding General Canby's death and its aftermath). Riddle, Jeff C. (Charka) Davis. Indian History of the Modoc War, San Francisco: Marnell and Company, 1914, Internet Archive, online text External links "General Edward Richard Sprigg Canby," Chronicles of Boone County, Boone County Public Library (KY) Canby's Cross Commemorative Plaque 1817 births 1873 deaths Union Army generals People from Boone County, Kentucky American military personnel of the Mexican–American War People of the Modoc War American people of the Indian Wars Wesleyan University people United States Military Academy alumni People of New Mexico in the American Civil War American military personnel killed in the American Indian Wars American people of the Seminole Wars Burials at Crown Hill Cemetery Canby, Oregon Wabash College alumni	true	[ "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", "The Ogden Reds were a minor league baseball team in the western United States, based in Ogden, Utah. They played in the Pioneer League for a total of 14 seasons between 1939 and 1955. They were affiliated with the Cincinnati Reds of Major League Baseball (MLB), and played at the Class C level. The team's home field was John Affleck Park.\n\nHistory\nThe Reds were one of the six original teams of the Pioneer League when it was formed in 1939. The Reds were league champions in 1940 and 1941, finishing in fourth place and second place, respectively, during the regular season before winning the postseason playoffs. The team competed through the 1955 season, except for three years during World War II when the league did not operate. Hall of Fame inductee Frank Robinson played for the Reds in 1953. After the Reds' final season in Ogden, the city would not have another minor league team until the Ogden Dodgers arrived in 1966.\n\nSeason records\n\nAll-stars\n\nNotable alumni\n\nBaseball Hall of Fame alumni\n\n Frank Robinson (1953) Inducted 1982\n\nNotable alumni\n Ed Bailey\n Dave Bristol\n Frank Baumholtz\n Dale Long\n Bobby Mattick\n\nOgden Reds players\n\nReferences\n\nExternal links\nBaseball Reference – Ogden teams\n\nBaseball teams established in 1939\nCincinnati Reds minor league affiliates\nDefunct Pioneer League (baseball) teams\nDefunct sports teams in Utah\nProfessional baseball teams in Utah\nBaseball teams disestablished in 1955\nSports in Ogden, Utah\n1939 establishments in Utah\n1955 disestablishments in Utah\nDefunct baseball teams in Utah" ]
[ "Edward Canby", "Early military career", "What was Edward Canby's rank in the early part of his career?", "where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates.", "Did he fight in any wars during his early career?", "Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War,", "Did he fight in any other wars?", "Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (", "Did anything notable happen during the Utah War?", "During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted." ]	C_3389194542a545ab8922ed9233e24555_1	What happened after Sibly was aquitted?	5	What happened after Sibly was aquitted by the panel of judges Edward Canby was serving on?	Edward Canby	During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo [sic] Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857-1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. CANNOTANSWER	Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style.	Edward Richard Sprigg Canby (November 9, 1817 – April 11, 1873) was a career United States Army officer and a Union general in the American Civil War. In 1861–1862, Canby commanded the Department of New Mexico, defeating the Confederate General Henry Hopkins Sibley at the Battle of Glorieta Pass, forcing him to retreat to Texas. At the war's end, he took the surrender of Generals Richard Taylor and Edmund Kirby Smith. As commander of the Pacific Northwest in 1873, he was assassinated during peace talks with the Modoc, who were refusing to move from their California homelands. He was the only United States general to be killed during the Indian Wars. Canby was regarded as an administrator, more than a leader. General Ulysses S. Grant believed that he lacked aggression, but declared him irreplaceable for his knowledge of army regulations and constitutional law. Early life Canby was born in Piatt's Landing, Kentucky, to Israel T. and Elizabeth (Piatt) Canby. He attended Wabash College, but transferred to the United States Military Academy, from which he graduated in 1839. He was commissioned a second lieutenant in the 2nd U.S. Infantry and served as the regimental adjutant. Although he was often referred to as Edward Canby, a biographer has suggested that he was known as "Richard" during childhood and to some friends for most of his life. He was called "Sprigg" by fellow cadets at West Point, but during most of his career, he was generally referred to as E.R.S. Canby, sometimes signing his name "Ed. R.S. Canby." Marriage and family He married Louisa Hawkins at Crawfordsville, Indiana, August 1, 1839. She came from a family of three sisters and a brother, with whom she remained close. The Canbys had one child, a daughter, who did not survive childhood. Early military career During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican–American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belén Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857–1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. Civil War At the start of the Civil War, Canby commanded Fort Defiance, New Mexico Territory. He was promoted to colonel of the 19th U.S. Infantry on May 14, 1861, and the following month commanded the Department of New Mexico. His former assistant Sibley resigned to join the Confederate Army, becoming a Brigadier General. Although Sibley's Army of New Mexico defeated Canby and his troops in February 1862 at the Battle of Valverde, Canby eventually forced the Confederates to retreat to Texas after the Union's strategic victory at the Battle of Glorieta Pass. Immediately following this battle, Canby was promoted to brigadier general on March 31, 1862. Recombining the forces he had earlier divided, Canby set off in pursuit of the retreating Confederate forces, but he soon gave up the chase and allowed them to reach Texas. Shortly after the failure of the Confederate invasion of northern New Mexico, Canby was relieved of his command by Gen. James H. Carleton and reassigned to the east. Canby's achievement in New Mexico had largely been in his planning an overall defensive strategy. He and his opponent, Sibley, both had limited resources. Though Canby was a little better supplied, he saw that defending the entire territory from every possible attack would stretch his forces too thinly. Realizing that Sibley had to attack along a river, especially since New Mexico was in the middle of a long drought, Canby made the best use of his forces by defending against only two possible scenarios: an attack along the Rio Grande and an attack by way of the Pecos and Canadian rivers. He could easily shift the latter defensive force to protect Fort Union if the enemy attacked by way of the Rio Grande, which they did. Canby persuaded the governors of both New Mexico and Colorado to raise volunteer units to supplement regular Federal troops; the Colorado troops proved helpful at both Valverde and Glorieta. In spite of occasional superior soldiering by Confederate troops and junior commanders, Sibley's sluggishness and vacillation in executing a plan with high risk led to an almost inevitable Confederate collapse. After a period of clerical duty, Canby was assigned as "commanding general of the city and harbor of New York City" on July 17, 1863. This assignment followed the New York Draft Riots, which caused about 120 deaths and extensive property damage. He served until November 9, reviving the draft, and overseeing a prisoner of war camp in New York Harbor. He then went to work in the office of the Secretary of War, unofficially describing himself in correspondence as an "Assistant Adjutant General." Looking back on Canby's record, a 20th-century adjutant general, Edward F. Witsell, described Canby's position as "similar to that of an Assistant to the Secretary of the Army." In May 1864, Canby was promoted to major general and relieved Nathaniel P. Banks of his command at Simmesport, Louisiana. He next was assigned to the Midwest, where he commanded the Military Division of Western Mississippi. He was wounded in the upper thigh by a guerrilla while aboard the gunboat USS Cricket on the White River in Arkansas near Little Island on November 6, 1864. Canby commanded the Union forces assigned to conduct the campaign against Mobile, Alabama in the spring of 1865. This culminated in the Battle of Fort Blakeley, which led to the fall of Mobile on April 12, 1865. Canby accepted the surrender of the Confederate forces under General Richard Taylor in Citronelle, on May 4, 1865, and those under General Edmund Kirby Smith west of the Mississippi River on May 26, 1865. Canby was generally regarded as a great administrator, but he was criticized as a soldier. Ulysses S. Grant thought him not aggressive enough. At one time, Grant sent Canby an order to "destroy [the enemy's] railroads, machine-shops, &c." Ten days later, Grant reprimanded him for requesting men and materials to build railroads. "I wrote... urging you to... destroy railroads, machine-shops, &c., not to build them", Grant said. Canby could be a destroyer but appeared to prefer the role of builder. If someone had a question about army regulations or Constitutional law affecting the military, Canby was the man to see. Grant came to appreciate this in peace time, once complaining vigorously when President Andrew Johnson proposed to assign Canby away from the capital where Grant considered him irreplaceable. John D. Winters in The Civil War in Louisiana (1963) writes that Canby "lacked the social amenities" of Banks and appeared to most people as stern and taciturn." Winters quotes Treasury agent George S. Denison of New Orleans: General Canby is very active, but his work makes no great show as yet, because it is conducted too quietly and without ostentation. Canby is a tall man of thoughtful and kind face – speaks little and to the point – thoroughly a soldier and his manner is very modest and unassuming and sometimes even embarrassed. Canby's father had once owned slaves. Some of Canby's cousins fought for the Confederacy, and one was taken prisoner. The man's father wrote to Canby asking the general to use his influence to parole his son, but Canby declined, responding that he did not feel entitled to use his influence to benefit family members. Later, when Canby was a military governor during Reconstruction, he declined to favor relatives who had become carpetbaggers in his jurisdiction. Central Lunatic Asylum for Colored Insane In April 1869, Secretary of War Edwin Stanton appointed General Canby as military governor of Virginia. Soon after Canby arrived in Richmond, he confiscated each of the medical facilities in the city and converted them for use by the Union Army. In the next several months, Canby was made aware of the critical medical and economic plight of thousands of formerly enslaved blacks in the state uprooted by the Civil War. Canby had to decide how to provide blacks access to health and mental health services without violating the racial pecking order that existed in the South. One area in dispute was whether blacks would be allowed admission to the state's existing mental asylums at Williamsburg and Staunton. Racial integration of these two asylums had been debated in the legislature and the psychiatric community for over a decade. Dr. John Galt, superintendent of Eastern Lunatic Asylum at Williamsburg believed that free blacks and whites could be treated medically in the same facility as he had demonstrated. However, Dr. Francis Stribling, superintendent of Western Lunatic Asylum at Staunton refused to admit either free or enslaved blacks to his institution. Following the death of Galt, Stribling became chair of an asylum planning committee that advised Canby and the Freedman's Bureau on a permanent admission policy for the black population. Stribling proposed that Virginia should construct a separate asylum for the admission and treatment of blacks with lunacy. Canby accepted his recommendation and included it as the basis of his military order number 136, published in December 1869. Canby's order required continued utilization of a rented annex at Howard's Grove Hospital as the temporary psychiatric hospital for blacks until the state of Virginia could decide whether to maintain and expand it or construct a new facility. In June 1870 the Virginia legislature accepted ownership of the Central Lunatic Asylum for Colored Insane, the first standalone facility in the United States. It remained located at the Howard's Grove site until 1885, when a new facility was constructed in Dinwiddie County some 40 miles south of Richmond and renamed Central State Hospital. Canby should be credited with creating the first racially segregated mental hospital in the US for African Americans. The hospital remained segregated by race until passage of the Civil Rights Act of 1964. Post-war assignments After the war, Canby served as commander of various military departments during Reconstruction, as the government tried to manage dramatic social changes while securing peace. He commanded Louisiana from 1864 to May 1866. He was next assigned as commander of the Department of Washington, which consisted of Delaware, Maryland, the District of Columbia, and Alexandria and Fairfax counties in Virginia, from June 1866 until August 1867. He was assigned to the command of the Second Military District, comprising North and South Carolina. In August 1868, he briefly resumed command in Washington. He was assigned to the Fifth Military District in November, where he focused primarily on the reconstruction of Texas. He left Texas for Virginia, the First Military District, in April 1869, serving there until July 1870. Each of these postings occurred during Reconstruction and put Canby at the center of conflicts between Republicans and Democrats, whites and blacks, state and federal governments. New state legislatures were writing constitutions, and the social climate was highly volatile, with insurgent attacks against freedmen and Republicans on the rise in numerous areas. Many of his districts had Ku Klux Klan chapters, which the US government was not able to suppress until the early 1870s. Canby sometimes alienated one side or the other and often both. Charles W. Ramsdell called Canby "vigorous and firm, but just." Even political opponents, such as Jonathan Worth, governor of North Carolina, admitted that Canby was sincere and honest. Final assignment and death In August 1872, Canby was posted to command the Pacific Northwest. He soon faced problems with the Modoc tribe, who had historically lived in Northern California. Forced to remove to a reservation in Oregon which they had to share with their historical enemies, the Klamath tribe, they had pled with the US government to return to California. When the US refused, the Modoc left the reservation and returned illegally. In 1872, the US Army went to fight against them to force them back and the Modoc War broke out. The Modoc, entrenched in Captain Jack's Stronghold south of Tule Lake, resisted army attacks and fought US forces to a stalemate. General Canby had received conflicting orders from Washington as to whether to make peace or war on the Modoc. As war was not working, the US government authorized a peace commission and assigned Canby a key position on it. There were many lines of communication between the Modoc and whites. At one point, someone told the Modoc leader Captain Jack that the governor of Oregon intended to hang nine Modoc, apparently without trial, as soon as they surrendered. The Modoc broke off scheduled talks; Canby was angered by the rumors and their action, as he believed that his federal authority trumped the governor's and made the threat irrelevant. Canby had no intention of allowing the Modoc to be punished without a trial. On April 11, 1873, after months of false starts and aborted meetings, Canby went to another parley, unarmed and with some hope of final resolution. Judge Elijah Steele of Yreka, California wrote later that when he warned Canby that the Modoc were volatile and he was at risk, Canby replied, "I believe you are right, Mr. Steele, and I shall regard your advice, but it would not be very well for the general in command to be afraid to go where the peace commissioners would venture." The peace talks were held midway between the army encampment and Captain Jack's stronghold near Tule Lake. It was discovered later that two members of Canby's party brought concealed weapons and Modoc warriors were also armed. According to Jeff C. Riddle, the Modoc son of the US interpreter and the author of Indian History of the Modoc War (1914), the Modoc had plotted before the meeting to kill Canby and the other commissioners, as they believed peace was not possible. They were determined to "fight until we die." (He was the son of Winema and Frank Riddle.) Captain Jack had been reluctant to agree to the killings, believing it "coward's work", but was pressured by other warriors to agree. He insisted on being given another chance to ask Canby to "give us a home in our country." When Canby said he did not have the authority to make such a promise, Captain Jack attacked the general. With Ellen's Man, one of his lieutenants, he shot Canby twice in the head and cut his throat. The Modoc also killed Reverend Eleazar Thomas, a peace commissioner, and wounded others in the party. Canby was the only general to be killed during the Indian Wars. Aftermath Following Canby's death, national outrage was expressed against the Modoc. Eastern newspapers called for blood vengeance, except for one in Georgia, which headlined the story: "Captain Jack and Warriors Revenge the South By Murdering General Canby, One of Her Greatest Oppressors." E.C. Thomas, son of the murdered peace commissioner, recognized the inevitability of reprisals for the killings, but said: "To be sure, peace will come through war, but not by extermination." Eventually, Captain Jack (Kintpuash), Boston Charley, Schonchin John, and Black Jim were tried for murder, convicted, and executed on October 3, 1873. The surviving Modoc were sent to reservations. The killing of Canby, and the Great Sioux War, undermined public confidence in President Grant's peace policy, according to the historian Robert Utley. There was growing public sentiment for full defeat of the American Indians. After memorial services were performed on the West Coast, Canby's body was returned to Indiana and buried in Crown Hill Cemetery, Indianapolis, Indiana on May 23, 1873. At least four Union generals attended his funeral there: William Tecumseh Sherman, Philip Sheridan, Lew Wallace, and Irvin McDowell, and the latter two served among the pall bearers. A reporter noted that, although the funeral procession was generally reserved, "more than once, expressions of hatred toward the Modoc" marred the silence. Legacy and honors 1871, he was awarded an honorary degree by Wesleyan University of Middletown, Connecticut. 1875, Fort Canby, a coast defense installation guarding the entrance to the Columbia River, is named in his honor. 1880s, Canby's Cross was erected in his honor near the site of the peace talks, in the area later designated as the Lava Beds National Monument. The towns of Canby in Clackamas County, Oregon, Canby in Yellow Medicine County, Minnesota, and Canby in Modoc County, California, are named for him. Canby, Oregon's annual July 4th celebration used to be called General Canby Days, with activities including a pancake breakfast, car show, parade and music. Cultural depictions The 1954 Western Drum Beat depicted the 1873 Modoc War and Canby's death at the hands of Captain Jack at the peace conference. Canby was played by Warner Anderson and Captain Jack by Charles Bronson. Col. Canby is referred to in 1966 movie "The Good, the Bad and the Ugly" as a Confederate column is retreating through town. See also List of American Civil War generals (Union) Notes References Eicher, John H., and Eicher, David J., Civil War High Commands, Stanford University Press, 2001, . Heyman, Max L., Jr.: Prudent Soldier: A Biography of Major General ERS Canby, 1817-1873, Frontier Military Series III, Glendale, California: The Arthur H. Clark Co., 1959. "Canby, Edward Richard Sprigg, 1819[sic]-1873. Papers, 1837-1873", A\C214 (1 box, 146 items; Filson Historical Society Library: MS #118, includes contemporary newspaper accounts regarding General Canby's death and its aftermath). Riddle, Jeff C. (Charka) Davis. Indian History of the Modoc War, San Francisco: Marnell and Company, 1914, Internet Archive, online text External links "General Edward Richard Sprigg Canby," Chronicles of Boone County, Boone County Public Library (KY) Canby's Cross Commemorative Plaque 1817 births 1873 deaths Union Army generals People from Boone County, Kentucky American military personnel of the Mexican–American War People of the Modoc War American people of the Indian Wars Wesleyan University people United States Military Academy alumni People of New Mexico in the American Civil War American military personnel killed in the American Indian Wars American people of the Seminole Wars Burials at Crown Hill Cemetery Canby, Oregon Wabash College alumni	true	[ "Ebenezer Sibly (1751 – 1799) was an English physician, astrologer and writer on the occult.\n\nLife\nHe was the son of Edmund Sibly and Mary Larkholm, born in the parish of Cripplegate ward, London. He was the brother of Manoah Sibly. Early on he devoted himself to medicine and astrology. He studied surgery in London.\n\nIn 1785 he was working as an astrologer in Bristol; and by about 1788 had moved to London. In 1789 he became the first master of the Lodge of Joppa #188, one of the founding masonic lodges under the Ancient Grand Lodge of England. In 1790 he was temporarily in Ipswich, supporting Sir John Hadley D'Oyly, the Whig member, at the general election. On 20 April 1792 he graduated M.D. from King's College, Aberdeen.\n\nAs a student of medicine, he became interested in the theories on animal magnetism by Anton Mesmer, joining Mesmer's Harmonic Philosophical School, and later also theosophy.\n\nSibly died in London around 1799.\n\nWorks\nSibly is celebrated for the natal horoscope he cast of the United States of America, published in 1787 and is still cited.\n\nTranslations\nEbenezer Sibly used an eclectic mixture of early modern esoteric works. His brother Manoah Sibly (1757–1840) was a linguist, as well as a Swedenborgian preacher. Under Manoah's name appeared texts including a revision of John Whalley's translation of the Tetrabiblos, and a translation of Placidus de Titis; as an astrologer, Ebenezer is said to have used the Placidian system of houses; as a student of alchemy, he translated Bernard of Treviso (the fountain allegory). It has been said that experts of the time would have seen that Sibly was not very discriminating about the sources he chose, and drew on unpublished translations that he had borrowed. He knew the Book of Enoch via Charles Rainsford.\n\nThe Complete Illustration\nSibly published the New and Complete Illustration of the Celestial Science of Astrology in four volumes, from 1784. He had completed it by the time he moved to London. The work, which had later editions under various titles, gave details of magical procedure, and an account of the spirit world derived from Reginald Scot, in the 1665 edition of Discoverie of Witchcraft. Revised editions appeared posthumously as Astrology, A New and Complete Illustration of the Occult Sciences by Ebenezer Sibly, M.D. F.R.H.S., Embellished with Curious Copper-Plates, London (1806), and The New and Complete Illustration of the Celestial Science of Astrology (1817).\n\nOther works\nSibly published A Key to Physic, and the Occult Sciences, in 1792.\n\nSibly wrote a book called Universal System of Natural History in 1794. In the book, in a form of environmental monogenism, he claimed that the White Race was the first on earth:\n\n“We must consider white as the stock whence all others have sprung, Adam and Eve and all their posterity, till the time of the deluge were white; in the first age of the world no black nation was to be found on the face of the earth.”\n\nSibly believed that humans had not reached Africa until after the dispersal from the Tower of Babel, that the continent's first inhabitants had been white, and that Africans had become dark only as a result of climate.\n\nThe original version of Culpeper's English Physician and Complete Herbal was published in 1652 without illustrations. In 1790 an illustrated version of the book was produced with drawings done by Sibly.\n\nNotes\n\nExternal links\nAllen G. Debus, Scientific truth and occult tradition: the medical world of Ebenezer Sibly (1751-1799), Medical History 1982 July; 26(3): 259–278. (online text as PDF)\n\nAttribution\n\n1751 births\n1799 deaths\nBotanical illustrators\nAlumni of the University of Aberdeen\nEnglish astrologers\n18th-century astrologers\n18th-century English medical doctors", "Thomas Franklin Sibly K.B.E. (25 October 1883 – 13 April 1948) was a British geologist who had a distinguished career in University administration, being first Principal of University College, Swansea (1920), and later Vice-Chancellor of the University of Wales, Principal of the University of London and from 1929 to 1946 Vice-Chancellor of the University of Reading.\n\nReferences\n\nExternal links\nSir Thomas Franklin Sibly (1883–1948) by William D. Dring - Art UK Your Paintings.\n\n1883 births\n1948 deaths\nAcademics of the University of London\nAcademics of the University of Reading\nAcademics of the University of Wales\n20th-century British geologists\nMembers of the Order of the British Empire\nVice-Chancellors of the University of Reading\nVice-Chancellors of the University of Wales" ]
[ "Edward Canby", "Early military career", "What was Edward Canby's rank in the early part of his career?", "where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates.", "Did he fight in any wars during his early career?", "Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War,", "Did he fight in any other wars?", "Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (", "Did anything notable happen during the Utah War?", "During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted.", "What happened after Sibly was aquitted?", "Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style." ]	C_3389194542a545ab8922ed9233e24555_1	Did Canby fight any other Native Americans?	6	Aside from the Seminole War, did Edward Canby fight any other Native Americans?	Edward Canby	During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican-American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belen Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo [sic] Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857-1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. CANNOTANSWER	The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders.	Edward Richard Sprigg Canby (November 9, 1817 – April 11, 1873) was a career United States Army officer and a Union general in the American Civil War. In 1861–1862, Canby commanded the Department of New Mexico, defeating the Confederate General Henry Hopkins Sibley at the Battle of Glorieta Pass, forcing him to retreat to Texas. At the war's end, he took the surrender of Generals Richard Taylor and Edmund Kirby Smith. As commander of the Pacific Northwest in 1873, he was assassinated during peace talks with the Modoc, who were refusing to move from their California homelands. He was the only United States general to be killed during the Indian Wars. Canby was regarded as an administrator, more than a leader. General Ulysses S. Grant believed that he lacked aggression, but declared him irreplaceable for his knowledge of army regulations and constitutional law. Early life Canby was born in Piatt's Landing, Kentucky, to Israel T. and Elizabeth (Piatt) Canby. He attended Wabash College, but transferred to the United States Military Academy, from which he graduated in 1839. He was commissioned a second lieutenant in the 2nd U.S. Infantry and served as the regimental adjutant. Although he was often referred to as Edward Canby, a biographer has suggested that he was known as "Richard" during childhood and to some friends for most of his life. He was called "Sprigg" by fellow cadets at West Point, but during most of his career, he was generally referred to as E.R.S. Canby, sometimes signing his name "Ed. R.S. Canby." Marriage and family He married Louisa Hawkins at Crawfordsville, Indiana, August 1, 1839. She came from a family of three sisters and a brother, with whom she remained close. The Canbys had one child, a daughter, who did not survive childhood. Early military career During his early career, Canby served in the Second Seminole War in Florida and saw combat during the Mexican–American War, where he received three brevet promotions, including to major for Contreras and Churubusco, and lieutenant colonel for Belén Gates. He also served at various posts, including Upstate New York and in the adjutant general's office in California from 1849 until 1851, covering the period of the territory's transition to statehood. Against his wishes, he was assigned to what was supposed to be the civilian post of custodian of the California Archives from March 1850 until he left California in April 1851. The Archives included records of Spanish and Mexican governments in California, as well as Mission records and land titles. Evidently, Canby had some knowledge of the Spanish language, which was extremely useful as the government was trying to unravel land titles. (The Filson Historical Society in Louisville, Kentucky holds what appears to be a document written in Canby's hand in Spanish, in which he identifies himself as "Edwardo Ricardo S. Canby.") Canby served in Wyoming and Utah (then both part of the Utah Territory) during the Utah War (1857–1858). During this period, he served on the panel of judges for the court martial of Captain Henry Hopkins Sibley. Sibley was acquitted. Subsequently, Canby wrote an endorsement for a teepee-like army tent which Sibley had adapted from the American Indian style. Both officers were later assigned to New Mexico, where in 1860 Canby coordinated a campaign against the Navajo, commanding Sibley in a futile attempt to capture and punish Navajo for "depredations" against the livestock of settlers. The campaign ended in frustration, with Canby and Sibley rarely sighting Navajo raiders. Usually they saw the Navajo at a distance and never got close to them. Civil War At the start of the Civil War, Canby commanded Fort Defiance, New Mexico Territory. He was promoted to colonel of the 19th U.S. Infantry on May 14, 1861, and the following month commanded the Department of New Mexico. His former assistant Sibley resigned to join the Confederate Army, becoming a Brigadier General. Although Sibley's Army of New Mexico defeated Canby and his troops in February 1862 at the Battle of Valverde, Canby eventually forced the Confederates to retreat to Texas after the Union's strategic victory at the Battle of Glorieta Pass. Immediately following this battle, Canby was promoted to brigadier general on March 31, 1862. Recombining the forces he had earlier divided, Canby set off in pursuit of the retreating Confederate forces, but he soon gave up the chase and allowed them to reach Texas. Shortly after the failure of the Confederate invasion of northern New Mexico, Canby was relieved of his command by Gen. James H. Carleton and reassigned to the east. Canby's achievement in New Mexico had largely been in his planning an overall defensive strategy. He and his opponent, Sibley, both had limited resources. Though Canby was a little better supplied, he saw that defending the entire territory from every possible attack would stretch his forces too thinly. Realizing that Sibley had to attack along a river, especially since New Mexico was in the middle of a long drought, Canby made the best use of his forces by defending against only two possible scenarios: an attack along the Rio Grande and an attack by way of the Pecos and Canadian rivers. He could easily shift the latter defensive force to protect Fort Union if the enemy attacked by way of the Rio Grande, which they did. Canby persuaded the governors of both New Mexico and Colorado to raise volunteer units to supplement regular Federal troops; the Colorado troops proved helpful at both Valverde and Glorieta. In spite of occasional superior soldiering by Confederate troops and junior commanders, Sibley's sluggishness and vacillation in executing a plan with high risk led to an almost inevitable Confederate collapse. After a period of clerical duty, Canby was assigned as "commanding general of the city and harbor of New York City" on July 17, 1863. This assignment followed the New York Draft Riots, which caused about 120 deaths and extensive property damage. He served until November 9, reviving the draft, and overseeing a prisoner of war camp in New York Harbor. He then went to work in the office of the Secretary of War, unofficially describing himself in correspondence as an "Assistant Adjutant General." Looking back on Canby's record, a 20th-century adjutant general, Edward F. Witsell, described Canby's position as "similar to that of an Assistant to the Secretary of the Army." In May 1864, Canby was promoted to major general and relieved Nathaniel P. Banks of his command at Simmesport, Louisiana. He next was assigned to the Midwest, where he commanded the Military Division of Western Mississippi. He was wounded in the upper thigh by a guerrilla while aboard the gunboat USS Cricket on the White River in Arkansas near Little Island on November 6, 1864. Canby commanded the Union forces assigned to conduct the campaign against Mobile, Alabama in the spring of 1865. This culminated in the Battle of Fort Blakeley, which led to the fall of Mobile on April 12, 1865. Canby accepted the surrender of the Confederate forces under General Richard Taylor in Citronelle, on May 4, 1865, and those under General Edmund Kirby Smith west of the Mississippi River on May 26, 1865. Canby was generally regarded as a great administrator, but he was criticized as a soldier. Ulysses S. Grant thought him not aggressive enough. At one time, Grant sent Canby an order to "destroy [the enemy's] railroads, machine-shops, &c." Ten days later, Grant reprimanded him for requesting men and materials to build railroads. "I wrote... urging you to... destroy railroads, machine-shops, &c., not to build them", Grant said. Canby could be a destroyer but appeared to prefer the role of builder. If someone had a question about army regulations or Constitutional law affecting the military, Canby was the man to see. Grant came to appreciate this in peace time, once complaining vigorously when President Andrew Johnson proposed to assign Canby away from the capital where Grant considered him irreplaceable. John D. Winters in The Civil War in Louisiana (1963) writes that Canby "lacked the social amenities" of Banks and appeared to most people as stern and taciturn." Winters quotes Treasury agent George S. Denison of New Orleans: General Canby is very active, but his work makes no great show as yet, because it is conducted too quietly and without ostentation. Canby is a tall man of thoughtful and kind face – speaks little and to the point – thoroughly a soldier and his manner is very modest and unassuming and sometimes even embarrassed. Canby's father had once owned slaves. Some of Canby's cousins fought for the Confederacy, and one was taken prisoner. The man's father wrote to Canby asking the general to use his influence to parole his son, but Canby declined, responding that he did not feel entitled to use his influence to benefit family members. Later, when Canby was a military governor during Reconstruction, he declined to favor relatives who had become carpetbaggers in his jurisdiction. Central Lunatic Asylum for Colored Insane In April 1869, Secretary of War Edwin Stanton appointed General Canby as military governor of Virginia. Soon after Canby arrived in Richmond, he confiscated each of the medical facilities in the city and converted them for use by the Union Army. In the next several months, Canby was made aware of the critical medical and economic plight of thousands of formerly enslaved blacks in the state uprooted by the Civil War. Canby had to decide how to provide blacks access to health and mental health services without violating the racial pecking order that existed in the South. One area in dispute was whether blacks would be allowed admission to the state's existing mental asylums at Williamsburg and Staunton. Racial integration of these two asylums had been debated in the legislature and the psychiatric community for over a decade. Dr. John Galt, superintendent of Eastern Lunatic Asylum at Williamsburg believed that free blacks and whites could be treated medically in the same facility as he had demonstrated. However, Dr. Francis Stribling, superintendent of Western Lunatic Asylum at Staunton refused to admit either free or enslaved blacks to his institution. Following the death of Galt, Stribling became chair of an asylum planning committee that advised Canby and the Freedman's Bureau on a permanent admission policy for the black population. Stribling proposed that Virginia should construct a separate asylum for the admission and treatment of blacks with lunacy. Canby accepted his recommendation and included it as the basis of his military order number 136, published in December 1869. Canby's order required continued utilization of a rented annex at Howard's Grove Hospital as the temporary psychiatric hospital for blacks until the state of Virginia could decide whether to maintain and expand it or construct a new facility. In June 1870 the Virginia legislature accepted ownership of the Central Lunatic Asylum for Colored Insane, the first standalone facility in the United States. It remained located at the Howard's Grove site until 1885, when a new facility was constructed in Dinwiddie County some 40 miles south of Richmond and renamed Central State Hospital. Canby should be credited with creating the first racially segregated mental hospital in the US for African Americans. The hospital remained segregated by race until passage of the Civil Rights Act of 1964. Post-war assignments After the war, Canby served as commander of various military departments during Reconstruction, as the government tried to manage dramatic social changes while securing peace. He commanded Louisiana from 1864 to May 1866. He was next assigned as commander of the Department of Washington, which consisted of Delaware, Maryland, the District of Columbia, and Alexandria and Fairfax counties in Virginia, from June 1866 until August 1867. He was assigned to the command of the Second Military District, comprising North and South Carolina. In August 1868, he briefly resumed command in Washington. He was assigned to the Fifth Military District in November, where he focused primarily on the reconstruction of Texas. He left Texas for Virginia, the First Military District, in April 1869, serving there until July 1870. Each of these postings occurred during Reconstruction and put Canby at the center of conflicts between Republicans and Democrats, whites and blacks, state and federal governments. New state legislatures were writing constitutions, and the social climate was highly volatile, with insurgent attacks against freedmen and Republicans on the rise in numerous areas. Many of his districts had Ku Klux Klan chapters, which the US government was not able to suppress until the early 1870s. Canby sometimes alienated one side or the other and often both. Charles W. Ramsdell called Canby "vigorous and firm, but just." Even political opponents, such as Jonathan Worth, governor of North Carolina, admitted that Canby was sincere and honest. Final assignment and death In August 1872, Canby was posted to command the Pacific Northwest. He soon faced problems with the Modoc tribe, who had historically lived in Northern California. Forced to remove to a reservation in Oregon which they had to share with their historical enemies, the Klamath tribe, they had pled with the US government to return to California. When the US refused, the Modoc left the reservation and returned illegally. In 1872, the US Army went to fight against them to force them back and the Modoc War broke out. The Modoc, entrenched in Captain Jack's Stronghold south of Tule Lake, resisted army attacks and fought US forces to a stalemate. General Canby had received conflicting orders from Washington as to whether to make peace or war on the Modoc. As war was not working, the US government authorized a peace commission and assigned Canby a key position on it. There were many lines of communication between the Modoc and whites. At one point, someone told the Modoc leader Captain Jack that the governor of Oregon intended to hang nine Modoc, apparently without trial, as soon as they surrendered. The Modoc broke off scheduled talks; Canby was angered by the rumors and their action, as he believed that his federal authority trumped the governor's and made the threat irrelevant. Canby had no intention of allowing the Modoc to be punished without a trial. On April 11, 1873, after months of false starts and aborted meetings, Canby went to another parley, unarmed and with some hope of final resolution. Judge Elijah Steele of Yreka, California wrote later that when he warned Canby that the Modoc were volatile and he was at risk, Canby replied, "I believe you are right, Mr. Steele, and I shall regard your advice, but it would not be very well for the general in command to be afraid to go where the peace commissioners would venture." The peace talks were held midway between the army encampment and Captain Jack's stronghold near Tule Lake. It was discovered later that two members of Canby's party brought concealed weapons and Modoc warriors were also armed. According to Jeff C. Riddle, the Modoc son of the US interpreter and the author of Indian History of the Modoc War (1914), the Modoc had plotted before the meeting to kill Canby and the other commissioners, as they believed peace was not possible. They were determined to "fight until we die." (He was the son of Winema and Frank Riddle.) Captain Jack had been reluctant to agree to the killings, believing it "coward's work", but was pressured by other warriors to agree. He insisted on being given another chance to ask Canby to "give us a home in our country." When Canby said he did not have the authority to make such a promise, Captain Jack attacked the general. With Ellen's Man, one of his lieutenants, he shot Canby twice in the head and cut his throat. The Modoc also killed Reverend Eleazar Thomas, a peace commissioner, and wounded others in the party. Canby was the only general to be killed during the Indian Wars. Aftermath Following Canby's death, national outrage was expressed against the Modoc. Eastern newspapers called for blood vengeance, except for one in Georgia, which headlined the story: "Captain Jack and Warriors Revenge the South By Murdering General Canby, One of Her Greatest Oppressors." E.C. Thomas, son of the murdered peace commissioner, recognized the inevitability of reprisals for the killings, but said: "To be sure, peace will come through war, but not by extermination." Eventually, Captain Jack (Kintpuash), Boston Charley, Schonchin John, and Black Jim were tried for murder, convicted, and executed on October 3, 1873. The surviving Modoc were sent to reservations. The killing of Canby, and the Great Sioux War, undermined public confidence in President Grant's peace policy, according to the historian Robert Utley. There was growing public sentiment for full defeat of the American Indians. After memorial services were performed on the West Coast, Canby's body was returned to Indiana and buried in Crown Hill Cemetery, Indianapolis, Indiana on May 23, 1873. At least four Union generals attended his funeral there: William Tecumseh Sherman, Philip Sheridan, Lew Wallace, and Irvin McDowell, and the latter two served among the pall bearers. A reporter noted that, although the funeral procession was generally reserved, "more than once, expressions of hatred toward the Modoc" marred the silence. Legacy and honors 1871, he was awarded an honorary degree by Wesleyan University of Middletown, Connecticut. 1875, Fort Canby, a coast defense installation guarding the entrance to the Columbia River, is named in his honor. 1880s, Canby's Cross was erected in his honor near the site of the peace talks, in the area later designated as the Lava Beds National Monument. The towns of Canby in Clackamas County, Oregon, Canby in Yellow Medicine County, Minnesota, and Canby in Modoc County, California, are named for him. Canby, Oregon's annual July 4th celebration used to be called General Canby Days, with activities including a pancake breakfast, car show, parade and music. Cultural depictions The 1954 Western Drum Beat depicted the 1873 Modoc War and Canby's death at the hands of Captain Jack at the peace conference. Canby was played by Warner Anderson and Captain Jack by Charles Bronson. Col. Canby is referred to in 1966 movie "The Good, the Bad and the Ugly" as a Confederate column is retreating through town. See also List of American Civil War generals (Union) Notes References Eicher, John H., and Eicher, David J., Civil War High Commands, Stanford University Press, 2001, . Heyman, Max L., Jr.: Prudent Soldier: A Biography of Major General ERS Canby, 1817-1873, Frontier Military Series III, Glendale, California: The Arthur H. Clark Co., 1959. "Canby, Edward Richard Sprigg, 1819[sic]-1873. Papers, 1837-1873", A\C214 (1 box, 146 items; Filson Historical Society Library: MS #118, includes contemporary newspaper accounts regarding General Canby's death and its aftermath). Riddle, Jeff C. (Charka) Davis. Indian History of the Modoc War, San Francisco: Marnell and Company, 1914, Internet Archive, online text External links "General Edward Richard Sprigg Canby," Chronicles of Boone County, Boone County Public Library (KY) Canby's Cross Commemorative Plaque 1817 births 1873 deaths Union Army generals People from Boone County, Kentucky American military personnel of the Mexican–American War People of the Modoc War American people of the Indian Wars Wesleyan University people United States Military Academy alumni People of New Mexico in the American Civil War American military personnel killed in the American Indian Wars American people of the Seminole Wars Burials at Crown Hill Cemetery Canby, Oregon Wabash College alumni	true	[ "Boston Charley (1854 – October 3, 1873) was an Indian warrior in the Modoc War of 1872. He was reportedly given the \"Boston\" moniker by miners who felt he had a lighter complexion than the other warriors. In 1873 he had joined the group led by Kintpuash, and was later involved in a massacre that killed fourteen people at Tule Lake. On April 11, 1873 he was part of a group that murdered Edward Canby. Charley did not personally kill Canby, but during the raid he killed a Dr. Thomas. On October 3, 1873, Boston Charley, Kintpuash, Schonchin John and Black Jim were executed for the murder of Edward Canby. He reportedly met his execution stoically, asking only for tobacco.\n\nSee also \nDeath of Edward Canby\n\nReferences\n\nGeneral references\n\nModoc people\nPeople of the Modoc War\n1854 births\n1873 deaths\n19th-century executions by the United States\nExecuted Native American people\nPeople executed for murder\n1873 murders in the United States\n19th-century Native Americans", "Henry Seidel Canby (September 6, 1878 – April 5, 1961) was a critic, editor, and Yale University professor.\n\nA scion of a Quaker family that arrived in Wilmington, Delaware, around 1740 and grew to regional prominence through milling and business affairs, Henry Seidel Canby was a son of Edward T. Canby. Canby was born in Wilmington, and attended Wilmington Friends School. He graduated from Yale in 1899, then taught at the university until becoming a professor in 1922.\n\nFollowing a four-year stint as the editor of the Literary Review of the New York Evening Post, Canby became one of the founders and editors of the Saturday Review of Literature, serving as the last until 1936. His notes on the work of Vilfredo Pareto in 1933 in the Saturday Review helped launch the Pareto vogue of the 1930s. In 1926 Canby became Editorial Chair of the newly created Book of the Month Club. A Subscription book club intended to promote the notion of middlebrow culture. Though their premier selection was quite forward at the time.\n\nIn 1922 Canby, together with his wife Marion Ponsonby Gause Canby, Mason and Helen Fox Trowbridge, Beverly Waugh and Caroline (Lena) Jennings Kunkel, Henry Noble and Marjorie Dodd MacCracken, Lee Wilson and Marion Roberts Canby Dodd, and David Stanley and Cora Deming Welch Smith founded the Yelping Hill Association. A summer colony based on the Pocono Lake Preserve Quaker colony in Pennsylvania, where some of the families had summered in previous years. It was from his office, The Writer's Cramp, on Yelping Hill that Canby did much work for the Saturday Review of Literature and the Book of the Month Club. In his book American Memoir Canby reflects on his, and authors', work done in Cornwall citing that \"it is not too much to say that for some years at least the fate of a new book of importance was more dependent upon the Hills of Cornwall than upon anything else except its own merits.\"\n\nHe was the father of Edward Tatnall Canby (1912-1998), a noted reviewer, radio-show host, folklorist and early advocate of electronic music.\n\nBibliography\nCollege Sons and College Fathers (1915)\nEveryday Americans (1920)\nDefinitions: Essays in Contemporary Criticism (1922)\nAmerican Estimates (1929)\nClassic Americans (1931)\nThe Age of Confidence (1934)\nAlma Mater: The Gothic Age of the American College (1936)\nSeven Years Harvest (1936)\nThoreau (1939)\nWalt Whitman An American (1943)\nThe Brandywine (1941) (Part of the Rivers of America Series)\nAmerican Memoir (1947)\nIntroduction to Favorite Poems of Henry Wadsworth Longfellow (1947)\nTurn West, Turn East: Mark Twain and Henry James (1951)\n\nReferences\n\nExternal links\n \n \n \nInformation Please Almanac article on Henry Seidel Canby\nHervey Allen Papers, 1831-1965, SC.1952.01, Special Collections Department, University of Pittsburgh\nHenry Seidel Canby Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.\n\n \n\n \n \n \n\n1878 births\n1961 deaths\nYale University faculty" ]
[ "Graeme Obree", "Origins" ]	C_7645ea2b3d70494587eaed6db514d08a_1	What are the origins of Graeme Obree?	1	What are the origins of Graeme Obree?	Graeme Obree	Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for PS492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test - no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. CANNOTANSWER	Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish.	Graeme Obree (born 11 September 1965), nicknamed The Flying Scotsman, is a Scottish racing cyclist who twice broke the world hour record, in July 1993 and April 1994, and was the individual pursuit world champion in 1993 and 1995. He was known for his unusual riding positions and for the Old Faithful bicycle he built which included parts from a washing machine. He joined a professional team in France but was fired before his first race. He also competed in the men's individual pursuit at the 1996 Summer Olympics. Obree has created some radical innovations in bicycle design and cycling position but has had problems with the cycling authorities banning the riding positions his designs required. Obree has been very open about living with bipolar disorder and depression, and the fact that he has attempted suicide three times in his life, using his experiences as a means of encouraging other sportspeople to talk about their own mental health. His life and exploits have been dramatised in the 2006 film The Flying Scotsman and more recently in the documentary film Battle Mountain: Graeme Obree's Story, which follows his journey to Battle Mountain, Nevada to compete in the 2013 World Human Powered Speed Championships. In March 2010 he was inducted into the Scottish Sports Hall of Fame. Biography Origins Obree was born in Nuneaton, a large town in northern Warwickshire, England, but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." In 2011 Obree came out as gay. Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for £492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test – no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. The bike Obree had built frames for his bike shop and made another for his record attempt. Instead of traditional dropped handlebars it had straight bars like those of a mountain bike. He placed them closer to the saddle than usual and rode with the bars under his chest, his elbows bent and tucked into his sides like those of a skier. Watching a washing machine spin at 1,200rpm led him to take the bearings, which he assumed must be of superior quality, and fit them to his bike. Obree later regretted admitting to the bearings experiment, because journalists referred to that before his achievements and other innovations. Obree called his bike "Old Faithful". It has a narrow bottom bracket, around which the cranks revolve, to bring his legs closer together, as he thought this is the "natural" position. As shown in the film, he thought a tread of "one banana" would be ideal. The bike has no top tube, so that his knees did not hit the frame. The chainstays are not horizontal to the ground. Thus the cranks can pass with a narrow bottom bracket. The fork had only one blade, carefully shaped to be as narrow as possible. A French writer who tried it said the narrow handlebars made it hard to accelerate the machine in a straight line but, once it was at speed, he could hold the bars and get into Obree's tucked style. At a high enough speed, [I could] tuck in my arms. And, above all, get in a very forward position on the bike, on the peak of the saddle. The Obree position isn't advantageous simply aerodynamically, it also allows, by pushing the point of pedalling towards the rear, to benefit from greater pressure while remaining in the saddle. You soon get an impression of speed, all the greater because you've got practically nothing [deux fois rien] between your hands. Two other things I noticed after a few hundred metres: I certainly didn't have the impression of turning 53 × 13, and the Obree position is no obstruction to breathing. But I wasn't pedalling at 55 km/h, 100 turns of the pedals a minute, yet my arms already hurt. Taking the record Obree attacked Moser's record, on 16 July 1993, at the Vikingskipet velodrome in Norway. He failed by nearly a kilometre. He had booked the track for 24 hours and decided to come back the next day. The writer Nicholas Roe said: To stop his aching body seizing up, Obree then took the unusual measure of drinking pint upon pint of water so that he had to wake up to go to the lavatory every couple of hours through the night. Each time he got up, he stretched his muscles. On the next weary day, he was up and out within minutes, at the deserted velodrome by 7:55 am and on the track ready to start just five minutes after that. He had barely slept. He had punished his body hugely the previous day. Surely this was a waste of time? Obree said: I was Butch Cassidy in terms of swagger. I didn't want any negativity. This was blitzkrieg. I'm going in there. Let me do it. I'm not going to be the timorous guy from Scotland. That's what the difference was. Purely mental state. The day before, I had been a mouse. Now I was a lion. On 17 July 1993, Obree set a new record of 51.596 kilometres, beating Moser's record of 51.151 kilometres by 445 metres. Losing the record Obree's triumph lasted less than a week. On 23 July 1993, the British Olympic champion, Chris Boardman broke Obree's record by 674 metres, riding 52.270 km at Bordeaux. His bike had a carbon monocoque frame, carbon wheels, and a triathlon handlebar. Their rivalry grew: a few months later Obree knocked Boardman out of the world championship pursuit to take the title himself. Regaining the record Francesco Moser, whose record Obree had beaten, adopted Obree's riding position—adding a chest pad—and established not an outright world record but a veterans' record of 51.84 kilometres. He did it on 15 January 1994, riding in the thin air of Mexico City as he had for his outright record, whereas Obree and Boardman had ridden at close to sea level. Obree retook the record on 27 April 1994, using the track that Boardman had used at Bordeaux. He had bolted his shoes to his pedals, to avoid what had happened in the final of the national pursuit championship, when he pulled his foot off the pedal during his starting effort. He rode 52.713 kilometres, a distance beaten on 2 September 1994 by the Spanish Tour de France winner, Miguel Induráin. Old Faithful banned The world governing body, the Union Cycliste Internationale, grew concerned that changes to bicycles were making a disproportionate influence to track records. Among other measures, it banned his riding position: he did not find out until one hour before he began the world championship pursuit in Italy. Judges disqualified him when he refused to comply. The magazine Cycling Weekly blamed "petty-minded officialdom." Obree developed another riding position, the "Superman" style, his arms fully extended in front, and he won the individual pursuit at the world championships with this and Old Faithful in 1995. That position was also banned. However, in May 2014 the UCI relented, acknowledging that fixing the kind of equipment to be used was hindering technical progress. It restored previous banned world records, from 2000, now to be described as "Best hour performance". The original Old Faithful bike is on display at the National Museum of Scotland in Edinburgh, while two near-replicas built for use in the Flying Scotsman film are displayed in the Riverside Transport Museum in Glasgow. In March 2018, Obree tested another replica of Old Faithful in the Mercedes-Benz F1 team's wind tunnel to gauge the aerodynamic efficiency of his various riding positions on the bike, having never previously participated in wind-tunnel testing. It was found that the (drag coefficient) of Obree's initial "tuck" or "crouch" position was 0.17, compared to a conventional 1990s bike position of 0.20 and a modern conventional position of 0.188, leading to an estimated gain in speed of about 2-2.5 km/h over his rivals in the 1990s and a gain of 1.5 km/h over contemporary track cyclists: meanwhile the "Superman" position was found only to be marginally more efficient than the 1990s conventional position, and less efficient than the modern conventional position. Obree however noted that the discomfort of the "crouch" position takes a lot of energy out of the rider through holding the hands and shoulders in place, whilst the "Superman" position was much more manageable. Other achievements Obree was individual pursuit world champion in 1993 and 1995. He broke the British 10-mile individual time trial record in 1993, won the RTTC 50-mile championship the same year (a record 1h 39m 1s), and won the 25-mile championship in 1996. In 1997 he joined forces with coach Joe Beer and clocked 18m 36s in a 10-mile time trial (V718 Hull) and next day won the British Cycling Federation 25-mile championship - this was part of building towards an hour record attempt that was to be eventually shelved. The writer Peter Bryan, of The Times, said: To see Obree in full flight, shoulders hunched and elbows tucked into his ribs, is a memorable sight. His face contorted with pain illustrates the effort he is putting in. And yet, not too many minutes after he has finished a ride the champion is sufficiently relaxed to talk with a queue of pressmen. Professional career Obree rode his hour records as an amateur. He took a professional licence after winning his first world championship, telling Bryan: "I reckon I can make more money on the bike than I get from unemployment benefit." He joined Le Groupement, a French team but did not attend a meeting in Les Carroz d'Arâches (fr) and was fired for "lack of professionalism." Obree had been racing in Florida when the team first met. But he was on holiday there when the team met again for publicity photographs. He got to the next get-together but flew to Paris instead of Lille, where the meeting was held. The team manager, Patrick Valcke, said: "If a rider has that attitude, it's best to stop working together as soon as possible. We paid for his tickets [to fly from Glasgow to Geneva] and he didn't even turn up, didn't even phone to explain why he was not coming. He said that he did not want to leave his family so soon after the death of his brother (see below) but he could have phoned to tell us that. I don't want any more to do with him." Obree said: "I was too ill to attend the get-together and had no success when I attempted to contact team officials on 1 January. My wife, Anne, who is a nurse, insisted I was not well enough to travel to France." The Le Groupement team fell apart after a short time, when the sponsoring company was involved in scandal, with accusations that it was nothing but a pyramid selling scheme. Some of the team members claimed that they were owed money, and their wages had not been paid. Attitude to doping Obree said of his short professional career: "I still feel I was robbed of part of my career. I was signed up to ride in the prologue of the Tour back in 1995, but it was made very obvious to me I would have to take drugs. I said no, no way, and I was sacked by my team. So there I was, 11 years later, sitting there waiting for the Tour cyclists to come by, and something welled up in me. I feel I was robbed by a lot of these bastards taking drugs. I also hate the way that people think anyone who has ever achieved anything on a bike must have been taking drugs. I was surprised how resentful I felt when I was in Paris. It had obviously been simmering away in there for years. That's something new I'll have to talk to my therapist about." In 1996, he told the magazine L'Équipe: "In my opinion, 99 percent of riders at élite level take EPO or a similar drug, not particularly to dope themselves but to be at the same level as the others. And that's rather sad." His web site says: "AND by the way, I never took drugs to improve my performance at any time as has been happening in the sport for a long time. I will be willing to stick my finger into a polygraph test if anyone with big media pull wants to take issue. In other words, if you buy a signed poster now it will not be tarnished later." Further suicide attempt Obree's brother, Gordon, died in a car crash in October 1994, and Graeme Obree again slid in and out of depression. In 2001 he was found unconscious at Bellsland Farm in Kilmaurs, 12 km from his Ayrshire home. The Obree family horse was stabled there, and he was discovered by a woman checking a barn. He had tried to hang himself. His wife, Anne, said he had been diagnosed as having severe bipolar disorder three years earlier. Present day Obree is divorced from his wife, with whom he has two children. He continues to race occasionally in individual time trials for Ayrshire-based Fullarton Wheelers cycling club. In May 2005, he crashed in the rain in the national 10-mile time trial championship near Nantwich in Cheshire. He was a member of the winning three-man club squad that took the team title in the Scottish 10-mile championship in May 2006. In December 2006, he competed in the track event, Revolution 15, in a four kilometre pursuit challenge. In January 2011, Obree disclosed in an interview with the Scottish Sun that he is gay and that his difficulty with coming to terms with his sexual orientation contributed to his earlier suicide attempts. "I was brought up by a war generation; they grew up when gay people were put in jail. Being homosexual was so unthinkable that you just wouldn't be gay. I'd no inkling about anything, I just closed down." He came out to his family in 2005. New Hour record attempt In May 2009, Obree announced that he would make an attempt at the "Athlete's Hour" record on a bike he had built himself during 2009. Obree said in October 2009 that the attempt had been cancelled as the bike he'd built himself was not suitable for the conditions. He will not be attempting this again. In December 2009, he was inducted into the British Cycling Hall of Fame while in March 2010, he was inducted into the Scottish Sports Hall of Fame. Human-powered vehicle land speed record In December 2011, Obree announced that he would make an attempt at the human-powered vehicle (HPV) land speed record, hoping to hit 100 mph. In May 2012, he revealed that the bike he is building for this attempt is a prone bike. The attempt was originally to take place in Britain, and the record speed was then . However, he competed in the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, where the record was also set. He achieved a speed of on the morning of Friday, 13 September. While Obree did not break the HPV land speed record, he did set a new record for a rider in the prone position. The previous day, Obree had set a speed of , which was a record speed in the prone position on a two-wheeled HPV (the overall prone record being held by a trike). Book and films He published his autobiography in 2003 titled The Flying Scotsman. He said: "It started with the psychologist saying it would do me good and ended up as my life story." A film based on the book premiered at the Edinburgh International Film Festival in 2006, starring Jonny Lee Miller and Billy Boyd. In November 2006 Metro-Goldwyn Mayer bought world distribution rights and the film was released in the US on 29 December 2006; it was given a UK release on 29 June 2007. The DVD was released in the UK on 5 November 2007. Battle Mountain: Graeme Obree's Story, a documentary film about Obree's appearance at the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, premiered at the 2015 Edinburgh International Film Festival. The film, directed by David Street with music by Alun Woodward of Chemikal Underground, went on public release on 21 March 2016, with a tour of cinemas featuring a question-and-answer session with Obree following screenings. The film was crowdfunded through the Kickstarter website. Notes References Related media Flying Scotsman: Cycling to Triumph Through My Darkest Hours Graeme Obree VeloPress 2005 Flying Scotsman Graeme Obree Birlinn Books 2003 External links Graeme Obree – Biography at CyclingInfo.co.uk Graeme Obree's home made bike photograph 1965 births Living people Sportspeople from Nuneaton Sportspeople from North Ayrshire Scottish male cyclists UCI Track Cycling World Champions (men) People with bipolar disorder Gay sportsmen LGBT sportspeople from Scotland LGBT cyclists Scottish track cyclists Olympic cyclists of Great Britain Cyclists at the 1996 Summer Olympics	false	[ "The Flying Scotsman is a 2006 Scottish drama film, based on the life and career of Scottish amateur cyclist Graeme Obree. The film covers the period of Obree's life that saw him take, lose, and then retake the world one-hour distance record. The film stars Jonny Lee Miller as Obree, Laura Fraser, Billy Boyd, and Brian Cox.\n\nPlot\nThe film starts with Graeme Obree (Miller), who suffers from a depressive moment (which we learn is due to a crippling bipolar disorder), cycles into a wood where he attempts to hang himself. A flashback to Obree's (Sean Brown) childhood depicts him being physically attacked at school by other pupils, leaving the young Graeme with severe psychological scars. One day Obree is given a bicycle by his parents and we see Obree evading the bullies.\n\nAs the film progresses the adult Obree is married to Anne with a child. In between competing in local races, he runs a failing cycle shop and has to supplement his income as a bicycle courier. Graeme encounters Malky McGovern (Boyd), a fellow bike courier, who recognises who Graeme is and they become friends. While working in his shop an older gentleman called Baxter (Cox), asks Graeme to repair his old bike. Graeme agrees after roping Baxter into being the judge over a race with a local van driver. Baxter takes a liking to Graeme but recognises a darkness in Graeme. \n\nGraeme decides to try and beat the hour record. However, he has neither the funding nor the quality of bicycle required. Determined to succeed, he asks Malky to take over his management and fund raising from his wife Anne who is overwhelmed with work and raising their child. Cox turns out to be a boatyard owner and offers Graeme and Malky his yard to build a fitting bike. Graeme sets himself 8 weeks to build a bike, raise funds for the challenge and pay for access to a fitting velodrome. Chris Boardsman is attempting to break the record within 9 weeks.\n\nGraeme manages to build a revolutionary prototype called Old Faithful, for maximum efficiency, made up from scrap metal and components from a washing machine. Malky chastises Graeme that they cannot attempt the record using a Old Faithful as Boardsman is going to be using a bike designed by computers and costing £500,000. Nevertheless Malky, Anne and Graeme arrive in Norway for their attempt, Graeme is derided by officials. Malky reveals to Graeme that he has had a proper bike built based off the prototype of Old Faithful. Graeme agrees to use the new bike but his first attempt at the record proves to be a failure. \n\nGraeme tells everyone he intends to go again as he has the velodrome booked for 24 hours. Everyone cautions him against this as the record takes a physical toll. Graeme devises a cunning way to prevent his body from ceasing up and cramping and exercises through the night. The next morning he and Anne sleep in and rush to Malky, who unknown to Graeme has rebuilt the bike using Old Faithful's parts. Graeme embarks on his attempts and is successful. \n\nHowever, his victory is short-lived as his record is broken by Chris Boardman (Adrian Grove, credited as Adrian Smith) a week later. The Union Cycliste Internationale changes the rules to discourage Obree from using his experimental bicycle. Obree is severely depressed the night following his record-making ride. This is exacerbated when Boardman breaks the record. When Obree is confronted in a pub by the four bullies who had victimised him years earlier at school, he becomes completely withdrawn and rarely leaves his house. Baxter attempts to counsel him, but Obree feels betrayed when he discovers that Baxter is the pastor of a local church.\n\nHe recovers enough to compete in the Individual Pursuit World Championship in 1993, in which he uses his bicycle design again. The UCI officials begin rigorously enforcing the new ruling, penalizing him for riding in the stance that his bicycle design is intended to support. The physical and emotional exertion take their toll, and he crashes disastrously, breaking his arm.\n\nThe plot then returns to the opening of the film. The rope Graeme attempts to use to hang himself breaks, and he is found by another cyclist who summons the authorities. Graeme initially resists treatment, until Baxter tells him about his wife, who also suffered from bipolar disorder and ultimately took her own life. At Graeme's request, his wife, Anne, a hospital nurse, agrees to help him begin treatment.\n\nGraeme later makes a comeback and regains his world title. The new bicycle configuration that he uses, which supports the \"Superman\" stance, is later banned by the UCF after eight riders win gold medals with it.\n\nCast\n Jonny Lee Miller as Graeme Obree: The main character in the film. Jonny Lee Miller joined the project in 2002, and he and Obree spent time together, Miller keen to pick up mannerisms and speech patterns. Obree would later stand-in for Miller during some cycling sequences in the film.\n Laura Fraser as Anne Obree: Obree's wife, who was once his manager. Laura Fraser had misgivings about playing Obree's wife, Anne, when she was sent Obree's autobiography from Douglas Mackinnon. \"I wasn’t expecting to enjoy it as I thought it would be all about sport,\" said Laura, \"but I got into the book straight away, it was absolutely compelling.\" It is the first time Fraser has played a real person and before filming began, she and Miller talked with the Obrees to help show their relationship during the film.\n Billy Boyd as Malky McGovern: Obree's manager. When approached to have a role in the film, Boyd knew only the \"basic elements\" of Obree's story. Boyd, being Scottish, felt it important to have the right script and further promote Scottish film.\n Brian Cox as Douglas Baxter: A minister who helps Obree chase his demons and concentrate on his goal. Cox, a seasoned actor, had been working in Europe before returning to Scotland to shoot the film. He commented that the story is one of \"perseverance and passion\". He said, since seeing the film, \"[t]he end result is even better than I hoped – it's a masterpiece.\"\n Morven Christie as Katie, a friend of Anne and within the film, Malky's girlfriend\n\nProduction\n\nThe Flying Scotsman first attracted screenwriter Simon Rose in 1994. Along with Rob Roy producer, Peter Broughan, and Scottish director, Douglas Mackinnon, he based the film's script on Obree's autobiography, also entitled The Flying Scotsman. The film, however, seemed doomed to fail and was cancelled several times.\n\nIn 2002, the death of a key American investor caused The Flying Scotsman to collapse only days before shooting was planned to commence. East Ayrshire Council, who originally gave £5000 to fund the project, refused to give further finance, stating that it didn't feel it would contribute to the community. Producer, Broughan, called the decision \"a disgrace\". It took three years for the project to get back on track. Broughan was joined by producer Damita Nikapota on the project who secured pre-production finance from Freewheel Productions. Peter Broughan tried to sack the director Douglas Mackinnon but Damita Nikapota refused to let this happen.\n\nShooting of the film began on 7 July 2006 and ended 4 September 2006. The film was shot largely in Galston, Scotland, with East Ayrshire, Glasgow and velodromes in Germany standing in for places in the story such as Colombia, France and Norway.\n\nRelease\nThe Flying Scotsman's first country-wide release was in New Zealand, where the film reached number 2 in the box office and stayed in the top 8 for the first seven weeks of its release. The film kicked off the 60th Edinburgh Film Festival, and later was given a wide-release date of 29 June 2007. Metro-Goldwyn Mayer was the main distributor in the United States, and the film was released there firstly on 29 December 2006. It also received a limited release on 4 May 2007.\n\nReception\n\nReview aggregation web site Rotten Tomatoes gives the film a score of 49% based on 53 reviews. The sites consensus reads: \"The Flying Scotsman's too-brisk pacing reduces the scale of cyclist Graham Obree's accomplishments while not uncovering what makes him tick.\"\n \nThe film gained mixed reviews worldwide following its release, with most of the praise being aimed at Jonny Lee Miller's performance in the title role. Russell Baillie, reviewer at the New Zealand Herald, gave the film four stars, commenting that it is \"gripping, affecting and inspiring\". John Daly-Peoples also praised the film, calling it \"compelling & heart-warming\". \nBill Zwecker, of the Chicago Sun-Times, said \"[t]urmoil and victory meet in remarkable Scotsman\". Zwecker also called Miller's acting a \"revelation\". Tom Keogh also praised Miller's acting, calling him \"enormously sympathetic and appealing\" as Obree. He also gave acclaim to the \"terrific supporting cast\", commending Brian Cox.\n\nTotal Film gave the film a fairly negative review. The film magazine said the mesh of Obree's depression and the \"Brit-flick furniture (loyal wife, rural scenery, gawky comic relief)\" came off flat, \"diminish[ing] rather than elevat[ing] its hero’s achievements\". The Guardian also questioned the film's comedic aspect combined with the issue of Obree's condition. Obree is an \"opaque and unsympathetic figure\" in the film, said reviewer Peter Bradshaw, also calling the record-breaking attempts \"weirdly anticlimactic and blank\".\n\nReferences\n\nExternal links\n \n \n\n2000s sports drama films\n2006 biographical drama films\n2006 directorial debut films\n2006 drama films\n2006 films\nBritish biographical drama films\nBritish films\nBritish sports drama films\nCycling films\nEnglish-language films\nFilms about bipolar disorder\nFilms about bullying\nFilms set in 1993\nFilms set in 1994\nFilms set in 1995\nMetro-Goldwyn-Mayer films", "Flying Scotsman can refer to:\n LNER Class A3 4472 Flying Scotsman, steam locomotive built in 1923\n Flying Scotsman (train), London to Edinburgh service since 1862\n The Flying Scotsman (1929 film), featuring the 1862 train and the 1923 locomotive\n Flying Scotsman, nickname of Scottish athlete and rugby player Eric Liddell (1902–1945)\n \"Flying Scotsman\", a song by Spear of Destiny from the 1983 album Grapes of Wrath\n The Flying Scotsman, nickname of Scottish darts player Gary Anderson\n The Flying Scotsman, nickname of Scottish cyclist Graeme Obree\n The Flying Scotsman (2006 film), about Graeme Obree\n Flying Scotsman Stakes, a horse race run at Doncaster Racecourse\n\nSee also \n Flying Scot (disambiguation)" ]
[ "Graeme Obree", "Origins", "What are the origins of Graeme Obree?", "Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish." ]	C_7645ea2b3d70494587eaed6db514d08a_1	Did he marry?	2	Did Graeme Obree marry?	Graeme Obree	Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for PS492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test - no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. CANNOTANSWER	no	Graeme Obree (born 11 September 1965), nicknamed The Flying Scotsman, is a Scottish racing cyclist who twice broke the world hour record, in July 1993 and April 1994, and was the individual pursuit world champion in 1993 and 1995. He was known for his unusual riding positions and for the Old Faithful bicycle he built which included parts from a washing machine. He joined a professional team in France but was fired before his first race. He also competed in the men's individual pursuit at the 1996 Summer Olympics. Obree has created some radical innovations in bicycle design and cycling position but has had problems with the cycling authorities banning the riding positions his designs required. Obree has been very open about living with bipolar disorder and depression, and the fact that he has attempted suicide three times in his life, using his experiences as a means of encouraging other sportspeople to talk about their own mental health. His life and exploits have been dramatised in the 2006 film The Flying Scotsman and more recently in the documentary film Battle Mountain: Graeme Obree's Story, which follows his journey to Battle Mountain, Nevada to compete in the 2013 World Human Powered Speed Championships. In March 2010 he was inducted into the Scottish Sports Hall of Fame. Biography Origins Obree was born in Nuneaton, a large town in northern Warwickshire, England, but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." In 2011 Obree came out as gay. Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for £492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test – no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. The bike Obree had built frames for his bike shop and made another for his record attempt. Instead of traditional dropped handlebars it had straight bars like those of a mountain bike. He placed them closer to the saddle than usual and rode with the bars under his chest, his elbows bent and tucked into his sides like those of a skier. Watching a washing machine spin at 1,200rpm led him to take the bearings, which he assumed must be of superior quality, and fit them to his bike. Obree later regretted admitting to the bearings experiment, because journalists referred to that before his achievements and other innovations. Obree called his bike "Old Faithful". It has a narrow bottom bracket, around which the cranks revolve, to bring his legs closer together, as he thought this is the "natural" position. As shown in the film, he thought a tread of "one banana" would be ideal. The bike has no top tube, so that his knees did not hit the frame. The chainstays are not horizontal to the ground. Thus the cranks can pass with a narrow bottom bracket. The fork had only one blade, carefully shaped to be as narrow as possible. A French writer who tried it said the narrow handlebars made it hard to accelerate the machine in a straight line but, once it was at speed, he could hold the bars and get into Obree's tucked style. At a high enough speed, [I could] tuck in my arms. And, above all, get in a very forward position on the bike, on the peak of the saddle. The Obree position isn't advantageous simply aerodynamically, it also allows, by pushing the point of pedalling towards the rear, to benefit from greater pressure while remaining in the saddle. You soon get an impression of speed, all the greater because you've got practically nothing [deux fois rien] between your hands. Two other things I noticed after a few hundred metres: I certainly didn't have the impression of turning 53 × 13, and the Obree position is no obstruction to breathing. But I wasn't pedalling at 55 km/h, 100 turns of the pedals a minute, yet my arms already hurt. Taking the record Obree attacked Moser's record, on 16 July 1993, at the Vikingskipet velodrome in Norway. He failed by nearly a kilometre. He had booked the track for 24 hours and decided to come back the next day. The writer Nicholas Roe said: To stop his aching body seizing up, Obree then took the unusual measure of drinking pint upon pint of water so that he had to wake up to go to the lavatory every couple of hours through the night. Each time he got up, he stretched his muscles. On the next weary day, he was up and out within minutes, at the deserted velodrome by 7:55 am and on the track ready to start just five minutes after that. He had barely slept. He had punished his body hugely the previous day. Surely this was a waste of time? Obree said: I was Butch Cassidy in terms of swagger. I didn't want any negativity. This was blitzkrieg. I'm going in there. Let me do it. I'm not going to be the timorous guy from Scotland. That's what the difference was. Purely mental state. The day before, I had been a mouse. Now I was a lion. On 17 July 1993, Obree set a new record of 51.596 kilometres, beating Moser's record of 51.151 kilometres by 445 metres. Losing the record Obree's triumph lasted less than a week. On 23 July 1993, the British Olympic champion, Chris Boardman broke Obree's record by 674 metres, riding 52.270 km at Bordeaux. His bike had a carbon monocoque frame, carbon wheels, and a triathlon handlebar. Their rivalry grew: a few months later Obree knocked Boardman out of the world championship pursuit to take the title himself. Regaining the record Francesco Moser, whose record Obree had beaten, adopted Obree's riding position—adding a chest pad—and established not an outright world record but a veterans' record of 51.84 kilometres. He did it on 15 January 1994, riding in the thin air of Mexico City as he had for his outright record, whereas Obree and Boardman had ridden at close to sea level. Obree retook the record on 27 April 1994, using the track that Boardman had used at Bordeaux. He had bolted his shoes to his pedals, to avoid what had happened in the final of the national pursuit championship, when he pulled his foot off the pedal during his starting effort. He rode 52.713 kilometres, a distance beaten on 2 September 1994 by the Spanish Tour de France winner, Miguel Induráin. Old Faithful banned The world governing body, the Union Cycliste Internationale, grew concerned that changes to bicycles were making a disproportionate influence to track records. Among other measures, it banned his riding position: he did not find out until one hour before he began the world championship pursuit in Italy. Judges disqualified him when he refused to comply. The magazine Cycling Weekly blamed "petty-minded officialdom." Obree developed another riding position, the "Superman" style, his arms fully extended in front, and he won the individual pursuit at the world championships with this and Old Faithful in 1995. That position was also banned. However, in May 2014 the UCI relented, acknowledging that fixing the kind of equipment to be used was hindering technical progress. It restored previous banned world records, from 2000, now to be described as "Best hour performance". The original Old Faithful bike is on display at the National Museum of Scotland in Edinburgh, while two near-replicas built for use in the Flying Scotsman film are displayed in the Riverside Transport Museum in Glasgow. In March 2018, Obree tested another replica of Old Faithful in the Mercedes-Benz F1 team's wind tunnel to gauge the aerodynamic efficiency of his various riding positions on the bike, having never previously participated in wind-tunnel testing. It was found that the (drag coefficient) of Obree's initial "tuck" or "crouch" position was 0.17, compared to a conventional 1990s bike position of 0.20 and a modern conventional position of 0.188, leading to an estimated gain in speed of about 2-2.5 km/h over his rivals in the 1990s and a gain of 1.5 km/h over contemporary track cyclists: meanwhile the "Superman" position was found only to be marginally more efficient than the 1990s conventional position, and less efficient than the modern conventional position. Obree however noted that the discomfort of the "crouch" position takes a lot of energy out of the rider through holding the hands and shoulders in place, whilst the "Superman" position was much more manageable. Other achievements Obree was individual pursuit world champion in 1993 and 1995. He broke the British 10-mile individual time trial record in 1993, won the RTTC 50-mile championship the same year (a record 1h 39m 1s), and won the 25-mile championship in 1996. In 1997 he joined forces with coach Joe Beer and clocked 18m 36s in a 10-mile time trial (V718 Hull) and next day won the British Cycling Federation 25-mile championship - this was part of building towards an hour record attempt that was to be eventually shelved. The writer Peter Bryan, of The Times, said: To see Obree in full flight, shoulders hunched and elbows tucked into his ribs, is a memorable sight. His face contorted with pain illustrates the effort he is putting in. And yet, not too many minutes after he has finished a ride the champion is sufficiently relaxed to talk with a queue of pressmen. Professional career Obree rode his hour records as an amateur. He took a professional licence after winning his first world championship, telling Bryan: "I reckon I can make more money on the bike than I get from unemployment benefit." He joined Le Groupement, a French team but did not attend a meeting in Les Carroz d'Arâches (fr) and was fired for "lack of professionalism." Obree had been racing in Florida when the team first met. But he was on holiday there when the team met again for publicity photographs. He got to the next get-together but flew to Paris instead of Lille, where the meeting was held. The team manager, Patrick Valcke, said: "If a rider has that attitude, it's best to stop working together as soon as possible. We paid for his tickets [to fly from Glasgow to Geneva] and he didn't even turn up, didn't even phone to explain why he was not coming. He said that he did not want to leave his family so soon after the death of his brother (see below) but he could have phoned to tell us that. I don't want any more to do with him." Obree said: "I was too ill to attend the get-together and had no success when I attempted to contact team officials on 1 January. My wife, Anne, who is a nurse, insisted I was not well enough to travel to France." The Le Groupement team fell apart after a short time, when the sponsoring company was involved in scandal, with accusations that it was nothing but a pyramid selling scheme. Some of the team members claimed that they were owed money, and their wages had not been paid. Attitude to doping Obree said of his short professional career: "I still feel I was robbed of part of my career. I was signed up to ride in the prologue of the Tour back in 1995, but it was made very obvious to me I would have to take drugs. I said no, no way, and I was sacked by my team. So there I was, 11 years later, sitting there waiting for the Tour cyclists to come by, and something welled up in me. I feel I was robbed by a lot of these bastards taking drugs. I also hate the way that people think anyone who has ever achieved anything on a bike must have been taking drugs. I was surprised how resentful I felt when I was in Paris. It had obviously been simmering away in there for years. That's something new I'll have to talk to my therapist about." In 1996, he told the magazine L'Équipe: "In my opinion, 99 percent of riders at élite level take EPO or a similar drug, not particularly to dope themselves but to be at the same level as the others. And that's rather sad." His web site says: "AND by the way, I never took drugs to improve my performance at any time as has been happening in the sport for a long time. I will be willing to stick my finger into a polygraph test if anyone with big media pull wants to take issue. In other words, if you buy a signed poster now it will not be tarnished later." Further suicide attempt Obree's brother, Gordon, died in a car crash in October 1994, and Graeme Obree again slid in and out of depression. In 2001 he was found unconscious at Bellsland Farm in Kilmaurs, 12 km from his Ayrshire home. The Obree family horse was stabled there, and he was discovered by a woman checking a barn. He had tried to hang himself. His wife, Anne, said he had been diagnosed as having severe bipolar disorder three years earlier. Present day Obree is divorced from his wife, with whom he has two children. He continues to race occasionally in individual time trials for Ayrshire-based Fullarton Wheelers cycling club. In May 2005, he crashed in the rain in the national 10-mile time trial championship near Nantwich in Cheshire. He was a member of the winning three-man club squad that took the team title in the Scottish 10-mile championship in May 2006. In December 2006, he competed in the track event, Revolution 15, in a four kilometre pursuit challenge. In January 2011, Obree disclosed in an interview with the Scottish Sun that he is gay and that his difficulty with coming to terms with his sexual orientation contributed to his earlier suicide attempts. "I was brought up by a war generation; they grew up when gay people were put in jail. Being homosexual was so unthinkable that you just wouldn't be gay. I'd no inkling about anything, I just closed down." He came out to his family in 2005. New Hour record attempt In May 2009, Obree announced that he would make an attempt at the "Athlete's Hour" record on a bike he had built himself during 2009. Obree said in October 2009 that the attempt had been cancelled as the bike he'd built himself was not suitable for the conditions. He will not be attempting this again. In December 2009, he was inducted into the British Cycling Hall of Fame while in March 2010, he was inducted into the Scottish Sports Hall of Fame. Human-powered vehicle land speed record In December 2011, Obree announced that he would make an attempt at the human-powered vehicle (HPV) land speed record, hoping to hit 100 mph. In May 2012, he revealed that the bike he is building for this attempt is a prone bike. The attempt was originally to take place in Britain, and the record speed was then . However, he competed in the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, where the record was also set. He achieved a speed of on the morning of Friday, 13 September. While Obree did not break the HPV land speed record, he did set a new record for a rider in the prone position. The previous day, Obree had set a speed of , which was a record speed in the prone position on a two-wheeled HPV (the overall prone record being held by a trike). Book and films He published his autobiography in 2003 titled The Flying Scotsman. He said: "It started with the psychologist saying it would do me good and ended up as my life story." A film based on the book premiered at the Edinburgh International Film Festival in 2006, starring Jonny Lee Miller and Billy Boyd. In November 2006 Metro-Goldwyn Mayer bought world distribution rights and the film was released in the US on 29 December 2006; it was given a UK release on 29 June 2007. The DVD was released in the UK on 5 November 2007. Battle Mountain: Graeme Obree's Story, a documentary film about Obree's appearance at the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, premiered at the 2015 Edinburgh International Film Festival. The film, directed by David Street with music by Alun Woodward of Chemikal Underground, went on public release on 21 March 2016, with a tour of cinemas featuring a question-and-answer session with Obree following screenings. The film was crowdfunded through the Kickstarter website. Notes References Related media Flying Scotsman: Cycling to Triumph Through My Darkest Hours Graeme Obree VeloPress 2005 Flying Scotsman Graeme Obree Birlinn Books 2003 External links Graeme Obree – Biography at CyclingInfo.co.uk Graeme Obree's home made bike photograph 1965 births Living people Sportspeople from Nuneaton Sportspeople from North Ayrshire Scottish male cyclists UCI Track Cycling World Champions (men) People with bipolar disorder Gay sportsmen LGBT sportspeople from Scotland LGBT cyclists Scottish track cyclists Olympic cyclists of Great Britain Cyclists at the 1996 Summer Olympics	true	[ "Muhammad ibn Ja'far (Arabic: محمد بن جعفر) was a companion and relative of the Islamic prophet Muhammad.\n\nHe was the son of Muhammad's cousin, Ja'far ibn Abu Talib, and of Asma bint Umais. His uncle Ali particularly wished that his daughters should marry Ja'far's sons. In due course, Muhammad ibn Ja'far did marry Ali's daughter Umm Kulthum, who was the widow of his brother Awn.\n\nSee also\nSahaba\n\nReferences\n\nExternal links\nhttp://www.yazehra.com/fatimabint.htm\nhttps://web.archive.org/web/20051210071431/http://www.anwary-islam.com/companion/ten-abu-ubaydah-jarrah.htm\n\nFamily of Muhammad\n7th-century Arabs", "Marry the Girl may refer to:\n\n Marry the Girl (play), farce by George Arthurs and Arthur Miller\n Marry the Girl (1928 film), American film directed by Phil Rosen\n Marry the Girl (1935 film), British film directed by Maclean Rogers\n Marry the Girl (1937 film), American film directed by William C. McGann" ]
[ "Graeme Obree", "Origins", "What are the origins of Graeme Obree?", "Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish.", "Did he marry?", "no" ]	C_7645ea2b3d70494587eaed6db514d08a_1	When did he start making bikes?	3	When did Graeme Obree start making bikes?	Graeme Obree	Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for PS492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test - no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. CANNOTANSWER	The bike shop that he ran failed	Graeme Obree (born 11 September 1965), nicknamed The Flying Scotsman, is a Scottish racing cyclist who twice broke the world hour record, in July 1993 and April 1994, and was the individual pursuit world champion in 1993 and 1995. He was known for his unusual riding positions and for the Old Faithful bicycle he built which included parts from a washing machine. He joined a professional team in France but was fired before his first race. He also competed in the men's individual pursuit at the 1996 Summer Olympics. Obree has created some radical innovations in bicycle design and cycling position but has had problems with the cycling authorities banning the riding positions his designs required. Obree has been very open about living with bipolar disorder and depression, and the fact that he has attempted suicide three times in his life, using his experiences as a means of encouraging other sportspeople to talk about their own mental health. His life and exploits have been dramatised in the 2006 film The Flying Scotsman and more recently in the documentary film Battle Mountain: Graeme Obree's Story, which follows his journey to Battle Mountain, Nevada to compete in the 2013 World Human Powered Speed Championships. In March 2010 he was inducted into the Scottish Sports Hall of Fame. Biography Origins Obree was born in Nuneaton, a large town in northern Warwickshire, England, but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." In 2011 Obree came out as gay. Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for £492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test – no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. The bike Obree had built frames for his bike shop and made another for his record attempt. Instead of traditional dropped handlebars it had straight bars like those of a mountain bike. He placed them closer to the saddle than usual and rode with the bars under his chest, his elbows bent and tucked into his sides like those of a skier. Watching a washing machine spin at 1,200rpm led him to take the bearings, which he assumed must be of superior quality, and fit them to his bike. Obree later regretted admitting to the bearings experiment, because journalists referred to that before his achievements and other innovations. Obree called his bike "Old Faithful". It has a narrow bottom bracket, around which the cranks revolve, to bring his legs closer together, as he thought this is the "natural" position. As shown in the film, he thought a tread of "one banana" would be ideal. The bike has no top tube, so that his knees did not hit the frame. The chainstays are not horizontal to the ground. Thus the cranks can pass with a narrow bottom bracket. The fork had only one blade, carefully shaped to be as narrow as possible. A French writer who tried it said the narrow handlebars made it hard to accelerate the machine in a straight line but, once it was at speed, he could hold the bars and get into Obree's tucked style. At a high enough speed, [I could] tuck in my arms. And, above all, get in a very forward position on the bike, on the peak of the saddle. The Obree position isn't advantageous simply aerodynamically, it also allows, by pushing the point of pedalling towards the rear, to benefit from greater pressure while remaining in the saddle. You soon get an impression of speed, all the greater because you've got practically nothing [deux fois rien] between your hands. Two other things I noticed after a few hundred metres: I certainly didn't have the impression of turning 53 × 13, and the Obree position is no obstruction to breathing. But I wasn't pedalling at 55 km/h, 100 turns of the pedals a minute, yet my arms already hurt. Taking the record Obree attacked Moser's record, on 16 July 1993, at the Vikingskipet velodrome in Norway. He failed by nearly a kilometre. He had booked the track for 24 hours and decided to come back the next day. The writer Nicholas Roe said: To stop his aching body seizing up, Obree then took the unusual measure of drinking pint upon pint of water so that he had to wake up to go to the lavatory every couple of hours through the night. Each time he got up, he stretched his muscles. On the next weary day, he was up and out within minutes, at the deserted velodrome by 7:55 am and on the track ready to start just five minutes after that. He had barely slept. He had punished his body hugely the previous day. Surely this was a waste of time? Obree said: I was Butch Cassidy in terms of swagger. I didn't want any negativity. This was blitzkrieg. I'm going in there. Let me do it. I'm not going to be the timorous guy from Scotland. That's what the difference was. Purely mental state. The day before, I had been a mouse. Now I was a lion. On 17 July 1993, Obree set a new record of 51.596 kilometres, beating Moser's record of 51.151 kilometres by 445 metres. Losing the record Obree's triumph lasted less than a week. On 23 July 1993, the British Olympic champion, Chris Boardman broke Obree's record by 674 metres, riding 52.270 km at Bordeaux. His bike had a carbon monocoque frame, carbon wheels, and a triathlon handlebar. Their rivalry grew: a few months later Obree knocked Boardman out of the world championship pursuit to take the title himself. Regaining the record Francesco Moser, whose record Obree had beaten, adopted Obree's riding position—adding a chest pad—and established not an outright world record but a veterans' record of 51.84 kilometres. He did it on 15 January 1994, riding in the thin air of Mexico City as he had for his outright record, whereas Obree and Boardman had ridden at close to sea level. Obree retook the record on 27 April 1994, using the track that Boardman had used at Bordeaux. He had bolted his shoes to his pedals, to avoid what had happened in the final of the national pursuit championship, when he pulled his foot off the pedal during his starting effort. He rode 52.713 kilometres, a distance beaten on 2 September 1994 by the Spanish Tour de France winner, Miguel Induráin. Old Faithful banned The world governing body, the Union Cycliste Internationale, grew concerned that changes to bicycles were making a disproportionate influence to track records. Among other measures, it banned his riding position: he did not find out until one hour before he began the world championship pursuit in Italy. Judges disqualified him when he refused to comply. The magazine Cycling Weekly blamed "petty-minded officialdom." Obree developed another riding position, the "Superman" style, his arms fully extended in front, and he won the individual pursuit at the world championships with this and Old Faithful in 1995. That position was also banned. However, in May 2014 the UCI relented, acknowledging that fixing the kind of equipment to be used was hindering technical progress. It restored previous banned world records, from 2000, now to be described as "Best hour performance". The original Old Faithful bike is on display at the National Museum of Scotland in Edinburgh, while two near-replicas built for use in the Flying Scotsman film are displayed in the Riverside Transport Museum in Glasgow. In March 2018, Obree tested another replica of Old Faithful in the Mercedes-Benz F1 team's wind tunnel to gauge the aerodynamic efficiency of his various riding positions on the bike, having never previously participated in wind-tunnel testing. It was found that the (drag coefficient) of Obree's initial "tuck" or "crouch" position was 0.17, compared to a conventional 1990s bike position of 0.20 and a modern conventional position of 0.188, leading to an estimated gain in speed of about 2-2.5 km/h over his rivals in the 1990s and a gain of 1.5 km/h over contemporary track cyclists: meanwhile the "Superman" position was found only to be marginally more efficient than the 1990s conventional position, and less efficient than the modern conventional position. Obree however noted that the discomfort of the "crouch" position takes a lot of energy out of the rider through holding the hands and shoulders in place, whilst the "Superman" position was much more manageable. Other achievements Obree was individual pursuit world champion in 1993 and 1995. He broke the British 10-mile individual time trial record in 1993, won the RTTC 50-mile championship the same year (a record 1h 39m 1s), and won the 25-mile championship in 1996. In 1997 he joined forces with coach Joe Beer and clocked 18m 36s in a 10-mile time trial (V718 Hull) and next day won the British Cycling Federation 25-mile championship - this was part of building towards an hour record attempt that was to be eventually shelved. The writer Peter Bryan, of The Times, said: To see Obree in full flight, shoulders hunched and elbows tucked into his ribs, is a memorable sight. His face contorted with pain illustrates the effort he is putting in. And yet, not too many minutes after he has finished a ride the champion is sufficiently relaxed to talk with a queue of pressmen. Professional career Obree rode his hour records as an amateur. He took a professional licence after winning his first world championship, telling Bryan: "I reckon I can make more money on the bike than I get from unemployment benefit." He joined Le Groupement, a French team but did not attend a meeting in Les Carroz d'Arâches (fr) and was fired for "lack of professionalism." Obree had been racing in Florida when the team first met. But he was on holiday there when the team met again for publicity photographs. He got to the next get-together but flew to Paris instead of Lille, where the meeting was held. The team manager, Patrick Valcke, said: "If a rider has that attitude, it's best to stop working together as soon as possible. We paid for his tickets [to fly from Glasgow to Geneva] and he didn't even turn up, didn't even phone to explain why he was not coming. He said that he did not want to leave his family so soon after the death of his brother (see below) but he could have phoned to tell us that. I don't want any more to do with him." Obree said: "I was too ill to attend the get-together and had no success when I attempted to contact team officials on 1 January. My wife, Anne, who is a nurse, insisted I was not well enough to travel to France." The Le Groupement team fell apart after a short time, when the sponsoring company was involved in scandal, with accusations that it was nothing but a pyramid selling scheme. Some of the team members claimed that they were owed money, and their wages had not been paid. Attitude to doping Obree said of his short professional career: "I still feel I was robbed of part of my career. I was signed up to ride in the prologue of the Tour back in 1995, but it was made very obvious to me I would have to take drugs. I said no, no way, and I was sacked by my team. So there I was, 11 years later, sitting there waiting for the Tour cyclists to come by, and something welled up in me. I feel I was robbed by a lot of these bastards taking drugs. I also hate the way that people think anyone who has ever achieved anything on a bike must have been taking drugs. I was surprised how resentful I felt when I was in Paris. It had obviously been simmering away in there for years. That's something new I'll have to talk to my therapist about." In 1996, he told the magazine L'Équipe: "In my opinion, 99 percent of riders at élite level take EPO or a similar drug, not particularly to dope themselves but to be at the same level as the others. And that's rather sad." His web site says: "AND by the way, I never took drugs to improve my performance at any time as has been happening in the sport for a long time. I will be willing to stick my finger into a polygraph test if anyone with big media pull wants to take issue. In other words, if you buy a signed poster now it will not be tarnished later." Further suicide attempt Obree's brother, Gordon, died in a car crash in October 1994, and Graeme Obree again slid in and out of depression. In 2001 he was found unconscious at Bellsland Farm in Kilmaurs, 12 km from his Ayrshire home. The Obree family horse was stabled there, and he was discovered by a woman checking a barn. He had tried to hang himself. His wife, Anne, said he had been diagnosed as having severe bipolar disorder three years earlier. Present day Obree is divorced from his wife, with whom he has two children. He continues to race occasionally in individual time trials for Ayrshire-based Fullarton Wheelers cycling club. In May 2005, he crashed in the rain in the national 10-mile time trial championship near Nantwich in Cheshire. He was a member of the winning three-man club squad that took the team title in the Scottish 10-mile championship in May 2006. In December 2006, he competed in the track event, Revolution 15, in a four kilometre pursuit challenge. In January 2011, Obree disclosed in an interview with the Scottish Sun that he is gay and that his difficulty with coming to terms with his sexual orientation contributed to his earlier suicide attempts. "I was brought up by a war generation; they grew up when gay people were put in jail. Being homosexual was so unthinkable that you just wouldn't be gay. I'd no inkling about anything, I just closed down." He came out to his family in 2005. New Hour record attempt In May 2009, Obree announced that he would make an attempt at the "Athlete's Hour" record on a bike he had built himself during 2009. Obree said in October 2009 that the attempt had been cancelled as the bike he'd built himself was not suitable for the conditions. He will not be attempting this again. In December 2009, he was inducted into the British Cycling Hall of Fame while in March 2010, he was inducted into the Scottish Sports Hall of Fame. Human-powered vehicle land speed record In December 2011, Obree announced that he would make an attempt at the human-powered vehicle (HPV) land speed record, hoping to hit 100 mph. In May 2012, he revealed that the bike he is building for this attempt is a prone bike. The attempt was originally to take place in Britain, and the record speed was then . However, he competed in the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, where the record was also set. He achieved a speed of on the morning of Friday, 13 September. While Obree did not break the HPV land speed record, he did set a new record for a rider in the prone position. The previous day, Obree had set a speed of , which was a record speed in the prone position on a two-wheeled HPV (the overall prone record being held by a trike). Book and films He published his autobiography in 2003 titled The Flying Scotsman. He said: "It started with the psychologist saying it would do me good and ended up as my life story." A film based on the book premiered at the Edinburgh International Film Festival in 2006, starring Jonny Lee Miller and Billy Boyd. In November 2006 Metro-Goldwyn Mayer bought world distribution rights and the film was released in the US on 29 December 2006; it was given a UK release on 29 June 2007. The DVD was released in the UK on 5 November 2007. Battle Mountain: Graeme Obree's Story, a documentary film about Obree's appearance at the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, premiered at the 2015 Edinburgh International Film Festival. The film, directed by David Street with music by Alun Woodward of Chemikal Underground, went on public release on 21 March 2016, with a tour of cinemas featuring a question-and-answer session with Obree following screenings. The film was crowdfunded through the Kickstarter website. Notes References Related media Flying Scotsman: Cycling to Triumph Through My Darkest Hours Graeme Obree VeloPress 2005 Flying Scotsman Graeme Obree Birlinn Books 2003 External links Graeme Obree – Biography at CyclingInfo.co.uk Graeme Obree's home made bike photograph 1965 births Living people Sportspeople from Nuneaton Sportspeople from North Ayrshire Scottish male cyclists UCI Track Cycling World Champions (men) People with bipolar disorder Gay sportsmen LGBT sportspeople from Scotland LGBT cyclists Scottish track cyclists Olympic cyclists of Great Britain Cyclists at the 1996 Summer Olympics	true	[ "Helsinki City Bikes (Finnish: Kaupunkipyörät or Alepa-fillarit, Swedish: Stadscyklar) is a public bicycle system in Helsinki and Espoo and integrating with the rest of the public transport in Helsinki since May 2016. It is operated as a public-private partnership between Helsinki Regional Transport Authority (HSL), Helsinki City Transport (HKL), Espoo Technical and Environment Services, Moventia and Smoove.\n\nHistory\n\nThe City of Helsinki had similar bike share program to Copenhagen City Bikes (also cancelled) from 2000 until 2010 when it was terminated in owing to funding issues and ongoing vandalism that required costly repairs and replacement of bicycles. Since the demise of first City Bikes, Helsinki City Transport was negotiating with JCDecaux Finland for a new bike share system. The system would have included 500 bikes and 34 stands in downtown Helsinki, modeled after the Paris Vélib' program, with part of the program costs to be paid by commercial businesses in exchange for 45 double-sided advertisement boards inside the city centre. However Helsinki could not agree places for advertisement boards and the deal was cancelled. In 2015 HKL made agreement with Moventia and Smoove about 2nd generation City Bikes and operation started in May 2016.\n\nDuring the first week of operation, the bikes were used 15 000 times, which amounted to more than 6 rides per bike per day. In first three weeks 43 000 trips were made with the bikes and system had 6 000 registered users. During the first season when 500 bikes were in operation users rode over 740 000 kilometers.\n\nAfter successful start Helsinki metropolitan area cities Espoo and Vantaa are considering joining the Helsinki bike sharing system. Autumn 2016 Espoo decided to start pilot trial with Helsinki bikes in summer 2017.\n\nJuly 2017 system had 28 000 registered users for annual pass which is over double compared to 2016 season.\n\nHelsinki ranked first in the study made in 2019 about the popularity of city bikes in different cities around the world. In the study, the Helsinki City Bike System was compared with 50 cities around the world. Rate of use was used as a measure of popularity, ie the number of journeys made per bike per day.\n\nHubs and bikes\n\nHelsinki's city bike system was opened in early May 2016 with 50 city bike stations (hubs) and 500 bikes serving the inner city area.\n\nThe system was expanded for the 2017 season to 150 hubs and 1500 bikes, covering Munkkiniemi, Pasila and Kumpula in addition to the inner city.\n\nFor the 2018 season the system was expanded to Espoo, having 70 stations from May and 35 more to be added during the summer. And had altogether 2550 city bikes.\n\nRental system\nThe rental system is fully web-based. Unlike many other city bike systems, riders do not need to pick up a card to access the system. A rider can register for and pay for a daily, weekly or annual pass. The rider will be given a personal cyclist ID and a PIN code for unlocking a bike from any station. The locations of stations and information about bike availability can be accessed on HSL's Journey Planner. A HSL Travel Card can be used instead of a cyclist ID. The pass entitles the user to an unlimited number of rides of up to 30 minutes. Extra charges apply for longer journeys. \n\nBikes are available from April until 31 October, unlike many other public bicycle programs that are available throughout the year.\n\nFinancing and management\nThe Helsinki city bike system is procured by Helsinki City Transport. The contract has been made for 10 years for a total value of 12 950 000 euros. The bikes and bike stations are supplied by Smoove, and Moventia is responsible for supplying the stations with bikes at even rates and for the upkeep of the bikes. Clear Channel Finland organizes project promotion and partnerships as a Moventia & Smoove subcontractor. Helsinki Cooperative Society Elanto’s (HOK-Elanto's) grocery store Alepa is the main cooperation partner of the city bike's and supports the system's implementation.\n\nIntegration with public transport\nCity bikes form a part of the overall public transport travel chain in Helsinki. The city bike stations, the availability of bikes and route information are included in the revised Helsinki Region Transport (HSL) on-line journey planner. The inclusion of city bikes in the public transport routing system is unique by worldwide standards. \n\nLocations of stations and information about bike availability is also available as Open data API.\n\nReferences\n\nExternal links\n City Bikes website \n Helsinki City Bikes station locations \n Helsinki city bike operator website\n\nPublic transport in Finland\n2016 establishments in Finland\nCommunity bicycle programs\nTransport in Helsinki\nBicycle sharing in Finland", "Icetrack cycling is a bicycle racing sport usually held on 400m speed skating ice ovals. However, any ice sheet can be used, including ice hockey rinks and frozen lakes.\n\nHistory\nThe sport of cycling on ice is probably as old as the sport of cycling. Icetrack cycling has many similarities to track cycling. There are many examples of bikes that have been built or adapted to cope with the hard and slippery surface of ice. Usually practiced in places where a winter freeze turns lakes into inviting sheets of ice, annual events attract all types of ice bikes and competitors. Various ice rinks also host (annual) events. In the Netherlands, icetrack cycling is developing rapidly due to the availability of standard ice bikes, making the sport more accessible.\nThe term icetrack is specifically used for cycling on ice suitable for skating on (i.e., not on snow or rough ice).\n\nEquipment\n\nMany types of bike have been tried over the years. The current standard bikes use one drive wheel at the back, a steering skate at the front and a cornering skate out to the right.\n\nThe drive wheel is a 20\" bicycle wheel with derailleur gears. Various tyres can be selected to suit the ice surface. Spikes are not used on a 400m ice oval.\n\nThe steering skate is ground to a profile which ensures the bike turns when the skate is turned - the skate being attached to handlebars operated by the user.\n\nThe cornering skate provides the force needed to get the bike round the left hand corners at either end of the ice oval.\n\nThe user sits in a recumbent position to ensure a low centre of gravity on the slippery ice.\n\nRace formats\n\nIcetrack cycling events fit into two broad categories: timed/individual races and multiple bike races.\n\nTimed races use the same format as speed skating events. Various distances between 500 m and 10,000 m are completed against the clock, with a maximum of two competitors on the ice at any one time. Many ice ovals include a wire loop embedded in the ice along the finish line which can detect the passing of a transponder attached to the competitor, thus providing automated timing (often linked to the internet).\n\nMultiple bike races of up to 20 bikes use a standing start from a grid with races held over three, five or nine laps. The position on the start grid is decided based on a timed qualifying flying lap.\n\nKeirin. The bikes are also used to start a Keirin race for speed skating (replacing the Derny in a velodrome). In a keirin for skaters, the bike starts on the opposite side of the oval and the skaters then start from a standing start as the bike passes them. The bike then regulates the speed, which increases over two laps, before slowing and moving to the left. The skaters then sprint the last lap to the finish. Any number of skaters between six and 16 can take part in a race, depending on the local club. Championship races have eight competitors.\n\nTrack records\nThe current record for one flying lap of a 400m ice oval stands at 33.18s, set on 11 December 2015 in De Bonte Wever Assen NL\n\nThe ice track hour record stands at 35.258 km, set by Eva Navratilova (CZE) on 14 November 2015 in Thialf (Heerenveen, NL). This record is recognised by the WHPVA.\n\nSee also \n Ice cycle\n Outline of cycling\n Speed Skating\n Velodrome\n\nReferences\n\nExternal links \n\n IceTrack Cycling\n\nCycle racing\nSpeed skating\ncycling" ]
[ "Graeme Obree", "Origins", "What are the origins of Graeme Obree?", "Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish.", "Did he marry?", "no", "When did he start making bikes?", "The bike shop that he ran failed" ]	C_7645ea2b3d70494587eaed6db514d08a_1	What was the first model?	4	What was the first model of Graeme Obree bikes?	Graeme Obree	Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for PS492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test - no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. CANNOTANSWER	CANNOTANSWER	Graeme Obree (born 11 September 1965), nicknamed The Flying Scotsman, is a Scottish racing cyclist who twice broke the world hour record, in July 1993 and April 1994, and was the individual pursuit world champion in 1993 and 1995. He was known for his unusual riding positions and for the Old Faithful bicycle he built which included parts from a washing machine. He joined a professional team in France but was fired before his first race. He also competed in the men's individual pursuit at the 1996 Summer Olympics. Obree has created some radical innovations in bicycle design and cycling position but has had problems with the cycling authorities banning the riding positions his designs required. Obree has been very open about living with bipolar disorder and depression, and the fact that he has attempted suicide three times in his life, using his experiences as a means of encouraging other sportspeople to talk about their own mental health. His life and exploits have been dramatised in the 2006 film The Flying Scotsman and more recently in the documentary film Battle Mountain: Graeme Obree's Story, which follows his journey to Battle Mountain, Nevada to compete in the 2013 World Human Powered Speed Championships. In March 2010 he was inducted into the Scottish Sports Hall of Fame. Biography Origins Obree was born in Nuneaton, a large town in northern Warwickshire, England, but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." In 2011 Obree came out as gay. Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for £492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test – no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. The bike Obree had built frames for his bike shop and made another for his record attempt. Instead of traditional dropped handlebars it had straight bars like those of a mountain bike. He placed them closer to the saddle than usual and rode with the bars under his chest, his elbows bent and tucked into his sides like those of a skier. Watching a washing machine spin at 1,200rpm led him to take the bearings, which he assumed must be of superior quality, and fit them to his bike. Obree later regretted admitting to the bearings experiment, because journalists referred to that before his achievements and other innovations. Obree called his bike "Old Faithful". It has a narrow bottom bracket, around which the cranks revolve, to bring his legs closer together, as he thought this is the "natural" position. As shown in the film, he thought a tread of "one banana" would be ideal. The bike has no top tube, so that his knees did not hit the frame. The chainstays are not horizontal to the ground. Thus the cranks can pass with a narrow bottom bracket. The fork had only one blade, carefully shaped to be as narrow as possible. A French writer who tried it said the narrow handlebars made it hard to accelerate the machine in a straight line but, once it was at speed, he could hold the bars and get into Obree's tucked style. At a high enough speed, [I could] tuck in my arms. And, above all, get in a very forward position on the bike, on the peak of the saddle. The Obree position isn't advantageous simply aerodynamically, it also allows, by pushing the point of pedalling towards the rear, to benefit from greater pressure while remaining in the saddle. You soon get an impression of speed, all the greater because you've got practically nothing [deux fois rien] between your hands. Two other things I noticed after a few hundred metres: I certainly didn't have the impression of turning 53 × 13, and the Obree position is no obstruction to breathing. But I wasn't pedalling at 55 km/h, 100 turns of the pedals a minute, yet my arms already hurt. Taking the record Obree attacked Moser's record, on 16 July 1993, at the Vikingskipet velodrome in Norway. He failed by nearly a kilometre. He had booked the track for 24 hours and decided to come back the next day. The writer Nicholas Roe said: To stop his aching body seizing up, Obree then took the unusual measure of drinking pint upon pint of water so that he had to wake up to go to the lavatory every couple of hours through the night. Each time he got up, he stretched his muscles. On the next weary day, he was up and out within minutes, at the deserted velodrome by 7:55 am and on the track ready to start just five minutes after that. He had barely slept. He had punished his body hugely the previous day. Surely this was a waste of time? Obree said: I was Butch Cassidy in terms of swagger. I didn't want any negativity. This was blitzkrieg. I'm going in there. Let me do it. I'm not going to be the timorous guy from Scotland. That's what the difference was. Purely mental state. The day before, I had been a mouse. Now I was a lion. On 17 July 1993, Obree set a new record of 51.596 kilometres, beating Moser's record of 51.151 kilometres by 445 metres. Losing the record Obree's triumph lasted less than a week. On 23 July 1993, the British Olympic champion, Chris Boardman broke Obree's record by 674 metres, riding 52.270 km at Bordeaux. His bike had a carbon monocoque frame, carbon wheels, and a triathlon handlebar. Their rivalry grew: a few months later Obree knocked Boardman out of the world championship pursuit to take the title himself. Regaining the record Francesco Moser, whose record Obree had beaten, adopted Obree's riding position—adding a chest pad—and established not an outright world record but a veterans' record of 51.84 kilometres. He did it on 15 January 1994, riding in the thin air of Mexico City as he had for his outright record, whereas Obree and Boardman had ridden at close to sea level. Obree retook the record on 27 April 1994, using the track that Boardman had used at Bordeaux. He had bolted his shoes to his pedals, to avoid what had happened in the final of the national pursuit championship, when he pulled his foot off the pedal during his starting effort. He rode 52.713 kilometres, a distance beaten on 2 September 1994 by the Spanish Tour de France winner, Miguel Induráin. Old Faithful banned The world governing body, the Union Cycliste Internationale, grew concerned that changes to bicycles were making a disproportionate influence to track records. Among other measures, it banned his riding position: he did not find out until one hour before he began the world championship pursuit in Italy. Judges disqualified him when he refused to comply. The magazine Cycling Weekly blamed "petty-minded officialdom." Obree developed another riding position, the "Superman" style, his arms fully extended in front, and he won the individual pursuit at the world championships with this and Old Faithful in 1995. That position was also banned. However, in May 2014 the UCI relented, acknowledging that fixing the kind of equipment to be used was hindering technical progress. It restored previous banned world records, from 2000, now to be described as "Best hour performance". The original Old Faithful bike is on display at the National Museum of Scotland in Edinburgh, while two near-replicas built for use in the Flying Scotsman film are displayed in the Riverside Transport Museum in Glasgow. In March 2018, Obree tested another replica of Old Faithful in the Mercedes-Benz F1 team's wind tunnel to gauge the aerodynamic efficiency of his various riding positions on the bike, having never previously participated in wind-tunnel testing. It was found that the (drag coefficient) of Obree's initial "tuck" or "crouch" position was 0.17, compared to a conventional 1990s bike position of 0.20 and a modern conventional position of 0.188, leading to an estimated gain in speed of about 2-2.5 km/h over his rivals in the 1990s and a gain of 1.5 km/h over contemporary track cyclists: meanwhile the "Superman" position was found only to be marginally more efficient than the 1990s conventional position, and less efficient than the modern conventional position. Obree however noted that the discomfort of the "crouch" position takes a lot of energy out of the rider through holding the hands and shoulders in place, whilst the "Superman" position was much more manageable. Other achievements Obree was individual pursuit world champion in 1993 and 1995. He broke the British 10-mile individual time trial record in 1993, won the RTTC 50-mile championship the same year (a record 1h 39m 1s), and won the 25-mile championship in 1996. In 1997 he joined forces with coach Joe Beer and clocked 18m 36s in a 10-mile time trial (V718 Hull) and next day won the British Cycling Federation 25-mile championship - this was part of building towards an hour record attempt that was to be eventually shelved. The writer Peter Bryan, of The Times, said: To see Obree in full flight, shoulders hunched and elbows tucked into his ribs, is a memorable sight. His face contorted with pain illustrates the effort he is putting in. And yet, not too many minutes after he has finished a ride the champion is sufficiently relaxed to talk with a queue of pressmen. Professional career Obree rode his hour records as an amateur. He took a professional licence after winning his first world championship, telling Bryan: "I reckon I can make more money on the bike than I get from unemployment benefit." He joined Le Groupement, a French team but did not attend a meeting in Les Carroz d'Arâches (fr) and was fired for "lack of professionalism." Obree had been racing in Florida when the team first met. But he was on holiday there when the team met again for publicity photographs. He got to the next get-together but flew to Paris instead of Lille, where the meeting was held. The team manager, Patrick Valcke, said: "If a rider has that attitude, it's best to stop working together as soon as possible. We paid for his tickets [to fly from Glasgow to Geneva] and he didn't even turn up, didn't even phone to explain why he was not coming. He said that he did not want to leave his family so soon after the death of his brother (see below) but he could have phoned to tell us that. I don't want any more to do with him." Obree said: "I was too ill to attend the get-together and had no success when I attempted to contact team officials on 1 January. My wife, Anne, who is a nurse, insisted I was not well enough to travel to France." The Le Groupement team fell apart after a short time, when the sponsoring company was involved in scandal, with accusations that it was nothing but a pyramid selling scheme. Some of the team members claimed that they were owed money, and their wages had not been paid. Attitude to doping Obree said of his short professional career: "I still feel I was robbed of part of my career. I was signed up to ride in the prologue of the Tour back in 1995, but it was made very obvious to me I would have to take drugs. I said no, no way, and I was sacked by my team. So there I was, 11 years later, sitting there waiting for the Tour cyclists to come by, and something welled up in me. I feel I was robbed by a lot of these bastards taking drugs. I also hate the way that people think anyone who has ever achieved anything on a bike must have been taking drugs. I was surprised how resentful I felt when I was in Paris. It had obviously been simmering away in there for years. That's something new I'll have to talk to my therapist about." In 1996, he told the magazine L'Équipe: "In my opinion, 99 percent of riders at élite level take EPO or a similar drug, not particularly to dope themselves but to be at the same level as the others. And that's rather sad." His web site says: "AND by the way, I never took drugs to improve my performance at any time as has been happening in the sport for a long time. I will be willing to stick my finger into a polygraph test if anyone with big media pull wants to take issue. In other words, if you buy a signed poster now it will not be tarnished later." Further suicide attempt Obree's brother, Gordon, died in a car crash in October 1994, and Graeme Obree again slid in and out of depression. In 2001 he was found unconscious at Bellsland Farm in Kilmaurs, 12 km from his Ayrshire home. The Obree family horse was stabled there, and he was discovered by a woman checking a barn. He had tried to hang himself. His wife, Anne, said he had been diagnosed as having severe bipolar disorder three years earlier. Present day Obree is divorced from his wife, with whom he has two children. He continues to race occasionally in individual time trials for Ayrshire-based Fullarton Wheelers cycling club. In May 2005, he crashed in the rain in the national 10-mile time trial championship near Nantwich in Cheshire. He was a member of the winning three-man club squad that took the team title in the Scottish 10-mile championship in May 2006. In December 2006, he competed in the track event, Revolution 15, in a four kilometre pursuit challenge. In January 2011, Obree disclosed in an interview with the Scottish Sun that he is gay and that his difficulty with coming to terms with his sexual orientation contributed to his earlier suicide attempts. "I was brought up by a war generation; they grew up when gay people were put in jail. Being homosexual was so unthinkable that you just wouldn't be gay. I'd no inkling about anything, I just closed down." He came out to his family in 2005. New Hour record attempt In May 2009, Obree announced that he would make an attempt at the "Athlete's Hour" record on a bike he had built himself during 2009. Obree said in October 2009 that the attempt had been cancelled as the bike he'd built himself was not suitable for the conditions. He will not be attempting this again. In December 2009, he was inducted into the British Cycling Hall of Fame while in March 2010, he was inducted into the Scottish Sports Hall of Fame. Human-powered vehicle land speed record In December 2011, Obree announced that he would make an attempt at the human-powered vehicle (HPV) land speed record, hoping to hit 100 mph. In May 2012, he revealed that the bike he is building for this attempt is a prone bike. The attempt was originally to take place in Britain, and the record speed was then . However, he competed in the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, where the record was also set. He achieved a speed of on the morning of Friday, 13 September. While Obree did not break the HPV land speed record, he did set a new record for a rider in the prone position. The previous day, Obree had set a speed of , which was a record speed in the prone position on a two-wheeled HPV (the overall prone record being held by a trike). Book and films He published his autobiography in 2003 titled The Flying Scotsman. He said: "It started with the psychologist saying it would do me good and ended up as my life story." A film based on the book premiered at the Edinburgh International Film Festival in 2006, starring Jonny Lee Miller and Billy Boyd. In November 2006 Metro-Goldwyn Mayer bought world distribution rights and the film was released in the US on 29 December 2006; it was given a UK release on 29 June 2007. The DVD was released in the UK on 5 November 2007. Battle Mountain: Graeme Obree's Story, a documentary film about Obree's appearance at the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, premiered at the 2015 Edinburgh International Film Festival. The film, directed by David Street with music by Alun Woodward of Chemikal Underground, went on public release on 21 March 2016, with a tour of cinemas featuring a question-and-answer session with Obree following screenings. The film was crowdfunded through the Kickstarter website. Notes References Related media Flying Scotsman: Cycling to Triumph Through My Darkest Hours Graeme Obree VeloPress 2005 Flying Scotsman Graeme Obree Birlinn Books 2003 External links Graeme Obree – Biography at CyclingInfo.co.uk Graeme Obree's home made bike photograph 1965 births Living people Sportspeople from Nuneaton Sportspeople from North Ayrshire Scottish male cyclists UCI Track Cycling World Champions (men) People with bipolar disorder Gay sportsmen LGBT sportspeople from Scotland LGBT cyclists Scottish track cyclists Olympic cyclists of Great Britain Cyclists at the 1996 Summer Olympics	false	[ "Lasswell's model of communication (also known as Lasswell's communication model) describes an act of communication by defining who said it, what was said, in what channel it was said, to whom it was said, and with what effect it was said. It is regarded by many communication and public relations scholars as \"one of the earliest and most influential communication models.\" The model was developed by American political scientist and communication theorist Harold Lasswell in 1948 while he was a professor at Yale Law School. In his 1948 article \"The Structure and Function of Communication in Society\", Lasswell wrote:\n[A] convenient way to describe an act of communication is to answer the following questions:\nWho?\nSays What?\nIn Which Channel?\nTo Whom?\nWith What Effect?\n\nConcept and usage\n\nThis verbal communication model has been referred to as \"a linear and Uni-directional process\", \"a one-way process\", an \"action model\", a media theory \"classic\", \"widely used segmentation of the communication process\", and \"a simple, linear, and potentially hypodermic conceptualization of communication.\"\n\nThe model organizes the \"scientific study of the process of communication\". The main focus of the model is broken down by each element of communication: who' refers to the communicator who formulates the message; 'what' is the content of message; 'channel' indicates the medium of transmission; 'whom' describes either an individual recipient or the audience of mass communication; 'effect' is the outcome of the message...\" The movement of the message travels from the communicator to the audience. Although this model represents a one-way flow of communication, the \"effect\" also refers to feedback in public relations. The model can be used in pedagogical settings to teach students major elements of a communication process and as a starting point for developing hypotheses.\n\nLasswell stated that the \"Who\" referred to \"control analysis\", the \"Says What\" referred to \"content analysis\", the \"In Which Channel\" referred to \"media analysis\", the \"To Whom\" referred to \"audience analysis\", and the \"With What Effect\" referred to \"effect analysis\".\n\nDevelopments and criticisms\n\n\"The Structure and Function of Communication in Society\" was reprinted in 1949, 1960, 1966, and 1971. However, the questions and the model did not change.\n\nGeorge Gerbner, the founder of the cultivation theory, expanded Lasswell's model in 1956 to focus \"attention on perception and reaction by the perceiver and the consequences of the communication\". In 1958, Richard Braddock suggested that the model be expanded to consider two additional elements that Braddock argued it ignored: \"for what purpose\" and \"under what circumstances\". Braddock's model is more applicable to cultivation theory. According to media scholar Michael Real: \"subsequent attempts to add an 'entertainment' function and an 'advertising' function fail to capture Lasswell's intent but provide the largest 'use and gratification' cited by, for example, television viewers.\"\n\nIn 1993, communication scholars Denis McQuail and Sven Windahl referred to Lasswell's model as \"perhaps the most famous single phrase in communication research.\" McQuail and Windahl also considered the model as a formula that would be transformed into a model once boxes were drawn around each element and arrows connected the elements. In 1995, Stanley Baran and Dennis Davis recognized it a verbal model of the communication process.\nIn 2008, Greenberg and Salwen acknowledged that Lasswell's model of communication has been widely adopted, but expressed: \"Although Lasswell's model draws attention to several key elements in the mass communication process, it does no more than describe general areas of study. It does not link elements together with any specificity, and there is no notion of an active process.\"\n\nSee also\n\n Media effects\n Uses and gratifications theory\n\nReferences\n\nCommunication theory", "The Model C stellarator was the first large-scale stellarator to be built, during the early stages of fusion power research. Planned since 1952, construction began in 1961 at what is today the Princeton Plasma Physics Laboratory (PPPL). The Model C followed the table-top sized Model A, and a series of Model B machines that refined the stellarator concept and provided the basis for the Model C, which intended to reach break-even conditions. Model C ultimately failed to reach this goal, producing electron temperatures of 400 eV when about 100,000 were needed. In 1969, after UK researchers confirmed that the USSR's T-3 tokamak was reaching 1000 eV, the Model C was converted to the Symmetrical Tokamak, and stellarator development at PPPL ended.\n\nDesign parameters\nThe Model C had a racetrack shape. The total length (of the tube axis?) was 1.2m. The plasma could have a 5-7.5 cm minor radius. Magnetic coils could produce a toroidal field (along the tube) of 35,000 Gauss. It was only capable of pulsed operation.\n\nIt had a divertor in one of the straight sections. In the other it could inject 4 MW of 25 MHz ion cyclotron resonance heating (ICRH).\n\nIt had helical windings on the curved sections.\n\nResults\nAn average ion temperature of 400 eV was reached in 1969.\n\nHistory\nConstruction funding/approval was announced in April 1957 with the design based on Katherine Weimer's efforts in fundamental research.\n\nIt started operating March 1962.\n\nThe Model C was reconfigured as a tokamak in 1969, becoming the Symmetric Tokamak (ST).\n\nReferences\n\nFurther reading\nExperiments on the Model C stellarator. S. Yoshikawa and T.H. Stix \nA CONCEPTUAL DESIGN OF THE MODEL C STELLARATOR. 1956 Says 9\" vacuum tube, but 150 ft long seems unlikely. 150,000 kW peak of pulsed power to the magnets.\n\nStellarators\nPrinceton Plasma Physics Laboratory" ]
[ "Graeme Obree", "Origins", "What are the origins of Graeme Obree?", "Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish.", "Did he marry?", "no", "When did he start making bikes?", "The bike shop that he ran failed", "What was the first model?", "I don't know." ]	C_7645ea2b3d70494587eaed6db514d08a_1	Why did the shop fail?	5	Why did the Graeme Obree bike shop fail?	Graeme Obree	Obree was born in Nuneaton, Warwickshire but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for PS492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test - no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. CANNOTANSWER	was being chased for PS492 owed in college fees.	Graeme Obree (born 11 September 1965), nicknamed The Flying Scotsman, is a Scottish racing cyclist who twice broke the world hour record, in July 1993 and April 1994, and was the individual pursuit world champion in 1993 and 1995. He was known for his unusual riding positions and for the Old Faithful bicycle he built which included parts from a washing machine. He joined a professional team in France but was fired before his first race. He also competed in the men's individual pursuit at the 1996 Summer Olympics. Obree has created some radical innovations in bicycle design and cycling position but has had problems with the cycling authorities banning the riding positions his designs required. Obree has been very open about living with bipolar disorder and depression, and the fact that he has attempted suicide three times in his life, using his experiences as a means of encouraging other sportspeople to talk about their own mental health. His life and exploits have been dramatised in the 2006 film The Flying Scotsman and more recently in the documentary film Battle Mountain: Graeme Obree's Story, which follows his journey to Battle Mountain, Nevada to compete in the 2013 World Human Powered Speed Championships. In March 2010 he was inducted into the Scottish Sports Hall of Fame. Biography Origins Obree was born in Nuneaton, a large town in northern Warwickshire, England, but has lived almost all his life in Scotland and considers himself Scottish. An individual time triallist, his first race was a 10-mile time trial to which he turned up wearing shorts, anorak and Doc Marten boots. He thought the start and finish were at the same place and stopped where he had started, 100 metres short of the end. He had started to change his clothes when officials told him to continue. He still finished in "about 30 minutes." In 2011 Obree came out as gay. Obree suffers from bipolar disorder. He attempted suicide in his teens by gassing himself. He was saved by his father, who had returned early from work. In the 1990s he took an overdose of aspirin washed down by water from a puddle. He had personality problems, sniffed the gas he used to weld bicycles, and was being chased for £492 owed in college fees. The bike shop that he ran failed and he decided the way out of his problems was to attack the world hour velodrome record. It had been held for nine years by Francesco Moser, at 51.151 kilometres. Obree said: The record had fascinated me since Moser broke it. It was the ultimate test – no traffic, one man in a velodrome against the clock. I didn't tell myself that I will attempt the record, I said I would break it. When your back is against the wall, you can say it's bad or you can say: 'I'll go for it.' I decided, that's it, I've as good as broken the record. The bike Obree had built frames for his bike shop and made another for his record attempt. Instead of traditional dropped handlebars it had straight bars like those of a mountain bike. He placed them closer to the saddle than usual and rode with the bars under his chest, his elbows bent and tucked into his sides like those of a skier. Watching a washing machine spin at 1,200rpm led him to take the bearings, which he assumed must be of superior quality, and fit them to his bike. Obree later regretted admitting to the bearings experiment, because journalists referred to that before his achievements and other innovations. Obree called his bike "Old Faithful". It has a narrow bottom bracket, around which the cranks revolve, to bring his legs closer together, as he thought this is the "natural" position. As shown in the film, he thought a tread of "one banana" would be ideal. The bike has no top tube, so that his knees did not hit the frame. The chainstays are not horizontal to the ground. Thus the cranks can pass with a narrow bottom bracket. The fork had only one blade, carefully shaped to be as narrow as possible. A French writer who tried it said the narrow handlebars made it hard to accelerate the machine in a straight line but, once it was at speed, he could hold the bars and get into Obree's tucked style. At a high enough speed, [I could] tuck in my arms. And, above all, get in a very forward position on the bike, on the peak of the saddle. The Obree position isn't advantageous simply aerodynamically, it also allows, by pushing the point of pedalling towards the rear, to benefit from greater pressure while remaining in the saddle. You soon get an impression of speed, all the greater because you've got practically nothing [deux fois rien] between your hands. Two other things I noticed after a few hundred metres: I certainly didn't have the impression of turning 53 × 13, and the Obree position is no obstruction to breathing. But I wasn't pedalling at 55 km/h, 100 turns of the pedals a minute, yet my arms already hurt. Taking the record Obree attacked Moser's record, on 16 July 1993, at the Vikingskipet velodrome in Norway. He failed by nearly a kilometre. He had booked the track for 24 hours and decided to come back the next day. The writer Nicholas Roe said: To stop his aching body seizing up, Obree then took the unusual measure of drinking pint upon pint of water so that he had to wake up to go to the lavatory every couple of hours through the night. Each time he got up, he stretched his muscles. On the next weary day, he was up and out within minutes, at the deserted velodrome by 7:55 am and on the track ready to start just five minutes after that. He had barely slept. He had punished his body hugely the previous day. Surely this was a waste of time? Obree said: I was Butch Cassidy in terms of swagger. I didn't want any negativity. This was blitzkrieg. I'm going in there. Let me do it. I'm not going to be the timorous guy from Scotland. That's what the difference was. Purely mental state. The day before, I had been a mouse. Now I was a lion. On 17 July 1993, Obree set a new record of 51.596 kilometres, beating Moser's record of 51.151 kilometres by 445 metres. Losing the record Obree's triumph lasted less than a week. On 23 July 1993, the British Olympic champion, Chris Boardman broke Obree's record by 674 metres, riding 52.270 km at Bordeaux. His bike had a carbon monocoque frame, carbon wheels, and a triathlon handlebar. Their rivalry grew: a few months later Obree knocked Boardman out of the world championship pursuit to take the title himself. Regaining the record Francesco Moser, whose record Obree had beaten, adopted Obree's riding position—adding a chest pad—and established not an outright world record but a veterans' record of 51.84 kilometres. He did it on 15 January 1994, riding in the thin air of Mexico City as he had for his outright record, whereas Obree and Boardman had ridden at close to sea level. Obree retook the record on 27 April 1994, using the track that Boardman had used at Bordeaux. He had bolted his shoes to his pedals, to avoid what had happened in the final of the national pursuit championship, when he pulled his foot off the pedal during his starting effort. He rode 52.713 kilometres, a distance beaten on 2 September 1994 by the Spanish Tour de France winner, Miguel Induráin. Old Faithful banned The world governing body, the Union Cycliste Internationale, grew concerned that changes to bicycles were making a disproportionate influence to track records. Among other measures, it banned his riding position: he did not find out until one hour before he began the world championship pursuit in Italy. Judges disqualified him when he refused to comply. The magazine Cycling Weekly blamed "petty-minded officialdom." Obree developed another riding position, the "Superman" style, his arms fully extended in front, and he won the individual pursuit at the world championships with this and Old Faithful in 1995. That position was also banned. However, in May 2014 the UCI relented, acknowledging that fixing the kind of equipment to be used was hindering technical progress. It restored previous banned world records, from 2000, now to be described as "Best hour performance". The original Old Faithful bike is on display at the National Museum of Scotland in Edinburgh, while two near-replicas built for use in the Flying Scotsman film are displayed in the Riverside Transport Museum in Glasgow. In March 2018, Obree tested another replica of Old Faithful in the Mercedes-Benz F1 team's wind tunnel to gauge the aerodynamic efficiency of his various riding positions on the bike, having never previously participated in wind-tunnel testing. It was found that the (drag coefficient) of Obree's initial "tuck" or "crouch" position was 0.17, compared to a conventional 1990s bike position of 0.20 and a modern conventional position of 0.188, leading to an estimated gain in speed of about 2-2.5 km/h over his rivals in the 1990s and a gain of 1.5 km/h over contemporary track cyclists: meanwhile the "Superman" position was found only to be marginally more efficient than the 1990s conventional position, and less efficient than the modern conventional position. Obree however noted that the discomfort of the "crouch" position takes a lot of energy out of the rider through holding the hands and shoulders in place, whilst the "Superman" position was much more manageable. Other achievements Obree was individual pursuit world champion in 1993 and 1995. He broke the British 10-mile individual time trial record in 1993, won the RTTC 50-mile championship the same year (a record 1h 39m 1s), and won the 25-mile championship in 1996. In 1997 he joined forces with coach Joe Beer and clocked 18m 36s in a 10-mile time trial (V718 Hull) and next day won the British Cycling Federation 25-mile championship - this was part of building towards an hour record attempt that was to be eventually shelved. The writer Peter Bryan, of The Times, said: To see Obree in full flight, shoulders hunched and elbows tucked into his ribs, is a memorable sight. His face contorted with pain illustrates the effort he is putting in. And yet, not too many minutes after he has finished a ride the champion is sufficiently relaxed to talk with a queue of pressmen. Professional career Obree rode his hour records as an amateur. He took a professional licence after winning his first world championship, telling Bryan: "I reckon I can make more money on the bike than I get from unemployment benefit." He joined Le Groupement, a French team but did not attend a meeting in Les Carroz d'Arâches (fr) and was fired for "lack of professionalism." Obree had been racing in Florida when the team first met. But he was on holiday there when the team met again for publicity photographs. He got to the next get-together but flew to Paris instead of Lille, where the meeting was held. The team manager, Patrick Valcke, said: "If a rider has that attitude, it's best to stop working together as soon as possible. We paid for his tickets [to fly from Glasgow to Geneva] and he didn't even turn up, didn't even phone to explain why he was not coming. He said that he did not want to leave his family so soon after the death of his brother (see below) but he could have phoned to tell us that. I don't want any more to do with him." Obree said: "I was too ill to attend the get-together and had no success when I attempted to contact team officials on 1 January. My wife, Anne, who is a nurse, insisted I was not well enough to travel to France." The Le Groupement team fell apart after a short time, when the sponsoring company was involved in scandal, with accusations that it was nothing but a pyramid selling scheme. Some of the team members claimed that they were owed money, and their wages had not been paid. Attitude to doping Obree said of his short professional career: "I still feel I was robbed of part of my career. I was signed up to ride in the prologue of the Tour back in 1995, but it was made very obvious to me I would have to take drugs. I said no, no way, and I was sacked by my team. So there I was, 11 years later, sitting there waiting for the Tour cyclists to come by, and something welled up in me. I feel I was robbed by a lot of these bastards taking drugs. I also hate the way that people think anyone who has ever achieved anything on a bike must have been taking drugs. I was surprised how resentful I felt when I was in Paris. It had obviously been simmering away in there for years. That's something new I'll have to talk to my therapist about." In 1996, he told the magazine L'Équipe: "In my opinion, 99 percent of riders at élite level take EPO or a similar drug, not particularly to dope themselves but to be at the same level as the others. And that's rather sad." His web site says: "AND by the way, I never took drugs to improve my performance at any time as has been happening in the sport for a long time. I will be willing to stick my finger into a polygraph test if anyone with big media pull wants to take issue. In other words, if you buy a signed poster now it will not be tarnished later." Further suicide attempt Obree's brother, Gordon, died in a car crash in October 1994, and Graeme Obree again slid in and out of depression. In 2001 he was found unconscious at Bellsland Farm in Kilmaurs, 12 km from his Ayrshire home. The Obree family horse was stabled there, and he was discovered by a woman checking a barn. He had tried to hang himself. His wife, Anne, said he had been diagnosed as having severe bipolar disorder three years earlier. Present day Obree is divorced from his wife, with whom he has two children. He continues to race occasionally in individual time trials for Ayrshire-based Fullarton Wheelers cycling club. In May 2005, he crashed in the rain in the national 10-mile time trial championship near Nantwich in Cheshire. He was a member of the winning three-man club squad that took the team title in the Scottish 10-mile championship in May 2006. In December 2006, he competed in the track event, Revolution 15, in a four kilometre pursuit challenge. In January 2011, Obree disclosed in an interview with the Scottish Sun that he is gay and that his difficulty with coming to terms with his sexual orientation contributed to his earlier suicide attempts. "I was brought up by a war generation; they grew up when gay people were put in jail. Being homosexual was so unthinkable that you just wouldn't be gay. I'd no inkling about anything, I just closed down." He came out to his family in 2005. New Hour record attempt In May 2009, Obree announced that he would make an attempt at the "Athlete's Hour" record on a bike he had built himself during 2009. Obree said in October 2009 that the attempt had been cancelled as the bike he'd built himself was not suitable for the conditions. He will not be attempting this again. In December 2009, he was inducted into the British Cycling Hall of Fame while in March 2010, he was inducted into the Scottish Sports Hall of Fame. Human-powered vehicle land speed record In December 2011, Obree announced that he would make an attempt at the human-powered vehicle (HPV) land speed record, hoping to hit 100 mph. In May 2012, he revealed that the bike he is building for this attempt is a prone bike. The attempt was originally to take place in Britain, and the record speed was then . However, he competed in the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, where the record was also set. He achieved a speed of on the morning of Friday, 13 September. While Obree did not break the HPV land speed record, he did set a new record for a rider in the prone position. The previous day, Obree had set a speed of , which was a record speed in the prone position on a two-wheeled HPV (the overall prone record being held by a trike). Book and films He published his autobiography in 2003 titled The Flying Scotsman. He said: "It started with the psychologist saying it would do me good and ended up as my life story." A film based on the book premiered at the Edinburgh International Film Festival in 2006, starring Jonny Lee Miller and Billy Boyd. In November 2006 Metro-Goldwyn Mayer bought world distribution rights and the film was released in the US on 29 December 2006; it was given a UK release on 29 June 2007. The DVD was released in the UK on 5 November 2007. Battle Mountain: Graeme Obree's Story, a documentary film about Obree's appearance at the 2013 World Human Powered Speed Championships in Battle Mountain, Nevada, premiered at the 2015 Edinburgh International Film Festival. The film, directed by David Street with music by Alun Woodward of Chemikal Underground, went on public release on 21 March 2016, with a tour of cinemas featuring a question-and-answer session with Obree following screenings. The film was crowdfunded through the Kickstarter website. Notes References Related media Flying Scotsman: Cycling to Triumph Through My Darkest Hours Graeme Obree VeloPress 2005 Flying Scotsman Graeme Obree Birlinn Books 2003 External links Graeme Obree – Biography at CyclingInfo.co.uk Graeme Obree's home made bike photograph 1965 births Living people Sportspeople from Nuneaton Sportspeople from North Ayrshire Scottish male cyclists UCI Track Cycling World Champions (men) People with bipolar disorder Gay sportsmen LGBT sportspeople from Scotland LGBT cyclists Scottish track cyclists Olympic cyclists of Great Britain Cyclists at the 1996 Summer Olympics	false	[ "Why Most Things Fail: Evolution, Extinction and Economics, is a 255-page book published in 2005 by Paul Ormerod.\n\nWhy Most Things Fail does for business collapse what years of journalism have done for business success. It identifies the subtle patterns that comprise the apparent disorder of failures and analyzes how they occur. The book was named a Business Book of the Year 2006 by Business Week.\n\nExternal links\n\nReviews\n\nReferences\n\nBusiness books\n2005 non-fiction books\nFaber and Faber books", "Matthew 14:31 is a verse in the fourteenth chapter of the Gospel of Matthew in the New Testament.\n\nContent\nIn the original Greek according to Westcott-Hort for this verse is:\nΕὐθέως δὲ ὁ Ἰησοῦς ἐκτείνας τὴν χεῖρα ἐπελάβετο αὐτοῦ, καὶ λέγει αὐτῷ, Ὀλιγόπιστε, εἰς τί ἐδίστασας; \n\nIn the King James Version of the Bible the text reads:\nAnd immediately Jesus stretched forth his hand, and caught him, and said unto him, O thou of little faith, wherefore didst thou doubt?\n\nThe New International Version translates the passage as:\nImmediately Jesus reached out his hand and caught him. \"You of little faith,\" he said, \"why did you doubt?\"\n\nAnalysis\n\"Why did you doubt,\" in Greek is εἰς τί ἐδίστασας, which literally is: why did you divide your mind in two? Because two things were here presented to Peter, 1) the strength of the wind making him afraid of being drowned, and 2) the voice of Christ instilling confidence and security. Still, the strength of the wind was more obvious. The effect was to cause Peter's faith to fail.\n\nCommentary from the Church Fathers\nChrysostom: \"He bade not the winds to cease, but stretched forth His hand and caught him, because his faith was required. For when our own means fail, then those which are of God stand. Then to show that not the strength of the tempest, but the smallness of his faith worked the danger, He saith unto him, O thou of little faith, why didst thou doubt? which shows that not even the wind would have been able to hurt him, if his faith had been firm. But as the mother bears on her wings and brings back to the nest her chick which has left the nest before its time and has fallen, so did Christ. And when they were come into the boat, the wind ceased. Then they that were in the boat came and worshipped him, saying, Truly thou art the Son of God.\"\n\nRabanus Maurus: \" This may be understood either of the sailors, or of the Apostles.\"\n\nChrysostom: \"Observe how He leads all gradually to that which is above them; He had before rebuked the sea, now He shows forth His power yet more by walking upon the sea, by bidding another to do the same, and by saving him in his peril; therefore they said unto Him, Truly thou art the Son of God, which they had not said above.\"\n\nJerome: \"If then upon this single miracle of stilling the sea, a thing which often happens by accident after even great tempests, the sailors and pilots confessed them to be truly the Son of God, how does Arrius preach in the Church itself that He is a creature?\"\n\nReferences\n\nExternal links\nOther translations of Matthew 14:31 at BibleHub\n\n14:31" ]
[ "Vienna Boys' Choir", "Recent history" ]	C_7eda8404fd0a46bf8f1b757cd1a79658_0	Where does the Vienna Boys Choir perform?	1	Where does the Vienna Boys Choir perform?	Vienna Boys' Choir	Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them. The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013. In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members. CANNOTANSWER	CANNOTANSWER	The Vienna Boys' Choir () is a choir of boy sopranos and altos based in Vienna, Austria. It is one of the best known boys' choirs in the world. The boys are selected mainly from Austria, but also from many other countries. The choir is a private, non-profit organization. There are approximately 100 choristers between the ages of nine and fourteen. The boys are divided into four touring choirs, named after Austrian composers Bruckner, Haydn, Mozart and Schubert, which combined perform about 300 concerts each year before almost 500,000 people. Each group tours for about nine to eleven weeks. Some pieces include "Good Morning" and "Merry Christmas from Vienna Boys". Early history The choir is the modern-day descendant of the boys' choirs of the Viennese Court, dating back to the late Middle Ages. The Wiener Hofmusikkapelle was established by a letter from Emperor Maximilian I of the Holy Roman Empire on 30 June 1498, instructing court officials to employ a singing master, two basses and six boys. Jurij Slatkonja became the director of the ensemble. The role of the choir (numbering between 24 and 26) was to provide musical accompaniment for the church mass. Additionally, the Haydn brothers were members of the St. Stephen's Cathedral choir, directed at the time by Georg Reutter II, who used this choir in his duties for the imperial court, which at the time had no boy choristers of its own. Over the centuries, the choir has worked with many composers, including Heinrich Isaac, Hofhaimer, Biber, Fux, Caldara, Gluck, Salieri, Mozart, Franz Schubert and Bruckner. In 1920, following the fall of the Austrian Empire, the Hofkapelle (court orchestra) was disbanded. However, the rector at the time, Josef Schnitt, sought a continuation of the tradition. In 1924, the Vienna Boys' Choir was officially founded, and it has evolved into a professional music group. The choir adopted the now-famous blue-and-white sailor suit, replacing the imperial military cadet uniform that included a dagger. The composer HK Gruber is one of the graduates of the reformed choir. Since 1948, Palais Augarten has served as the rehearsal venue and boarding school, which goes from kindergarten level up to middle school level. In 1961, Walt Disney filmed Almost Angels, a fictional drama about (and starring) the Vienna Boys' Choir, set and filmed in the Palais Augarten. It was Disney who, for cinematographic reasons, persuaded the Austrian government to allow the boys to legally wear the Austrian national emblem on the breast of their uniform, a tradition that continues to this day. Recent history Gerald Wirth became the choir's artistic director in 2001. However, since then, the choir has come under pressure to modernize and has faced criticism of their musical standards, leading to a split with the Vienna State Opera. The choir has for the first time had to advertise for recruits after a rival choir school was established by Ioan Holender, director of the opera company. He complained of both falling standards and poor communication with the choir. He said that the State Opera sometimes trained boys for particular stage roles, only to find out on the day of performance that they were unavailable as they had gone on tour with the choir. Some boys were attracted to the rival choir school by the prospect of a more relaxed atmosphere and of performance fees being paid directly to them. The Vienna Boys' Choir has sought to update its image, recording pop music selections and adopting an alternative uniform to the sailor suits used since the 1920s, allowing the boys to dance as they sing. After Eugen Jesser died in May 2008, Walter Nettig became the choir's president. Gerald Wirth has been the artistic director since 2001, and he also became the choir's president in 2013. In 2010, following sexual abuse allegations from two former choristers stemming from the late 1960s and early 1980s, the Vienna Boys' Choir opened a confidential phone and e-mail hotline to allow others to come forward. Eight possible victims came forward saying they were abused, either by staff or other choir members. Selected discography Christmas Frohe Weihnachten (2015) Wiener Sängerknaben Goes Christmas (2003) Frohe Weihnacht (Merry Christmas) (1999) Christmas in Vienna / Heiligste Nacht (1990) Merry Christmas from the Vienna Choir Boys (1982) Christmas with the Vienna Choir Boys (with Hermann Prey) Christmas with the Vienna Boys' Choir, London Symphony Orchestra (1990) Weihnacht mit den Wiener Sängerknaben (Hans Gillesberger 1980) The Little Drummer Boy (TV 1968) Die Wiener Sängerknaben und ihre Schönsten ... (1967) Frohe Weihnacht (1960) Christmas Angels (RCA Gold Seal) Silent Night Pop music I Am from Austria (2006) Wiener Sängerknaben Goes Pop (2002) Other recordings Orff: Carmina Burana (with André Previn and the Vienna Philharmonic Orchestra) (1994) Angelic Voices (1998) "Doraemon no Uta" for the animated motion picture Doraemon: Nobita and the Legend of the Sun King (2000) Silk Road: Songs Along the Road and Time (Music from the Motion Picture) (with Yulduz Usmanova and Nursultan Saroy) (2008) LG G2 Theme song and ringtone (2013) Strauss For Ever (2018) The Vienna Boys' Choir performed the song "The Little Drummer Boy" in the Rankin/Bass TV special of the same name. Feature Films Kleine Grosse Stimme (Little big voice) (2015) Songs for Mary (2014) Bridging the Gap (2013) Silk Road (2008) Almost Angels (1962) When the Bells Sound Clearly (1959) Der schönste Tag meines Lebens (The best day of my life) (1957) Voices of Spring (1952) Singenden Engel (The singing angels) (1947) Boys of the Prater (1946) Concert in Tirol (1938) An Orphan Boy of Vienna (1936) Featured composers Johann Sebastian Bach Ludwig van Beethoven Heinrich Ignaz Franz Biber Benjamin Britten Anton Bruckner Antonio Caldara Jacobus Gallus George Frideric Handel Joseph Haydn Wolfgang Amadeus Mozart Franz Schubert Salomon Sulzer Smaller works based on anthologies Anton Bruckner, Christus factus est Anton Bruckner, Locus iste Anton Bruckner, Os justi Anton Bruckner, Virga Jesse Joseph Leopold Eybler, Omnes de Saba venient Gabriel Fauré, Pie Jesu Jacobus Gallus, Natus est nobis Jacobus Gallus, Pueri concinite Jacobus Gallus, Repleti sunt Georg Friedrich Händel, Zadok the Priest Joseph Haydn, Du bist's, dem Ruhm und Ehre gebühret Joseph Haydn, Insanae et vanae curae Michael Haydn, Lauft, ihr Hirten allzugleich Jacbus de Kerle, Sanctus – Hosanna – Benedictus Wolfgang Amadeus Mozart, Kyrie Es-Dur KV 322 Wolfgang Amadeus Mozart, Kyrie d-moll KV 341 Wolfgang Amadeus Mozart, Misericordias Domini KV 222 Wolfgang Amadeus Mozart, Sub tuum praesidium Giovanni Nascus, Incipit lamentatio Giovanni Pierluigi da Palestrina, Hodie Christus natus est Michael Praetorius, In natali Domini Franz Schubert, Salve Regina D 386 Franz Schubert, Tantum ergo D 962 Franz Schubert, Totus in corde langueo D 136 Giuseppe Verdi, Laudi alla Vergine Maria Giuseppe Verdi, Pater noster Tomás Luis de Victoria, O regem coeli Tomás Luis de Victoria, Una hora See also Vienna Girls' Choir Drakensberg Boys' Choir School References External links School's official website Friends of the Vienna Boys Choir 1490s establishments in the Holy Roman Empire 1498 establishments in Europe 15th-century establishments in Austria Austrian choirs Boys' and men's choirs Choirs of children Musical groups from Vienna Musical groups established in the 15th century Organisations based in Vienna EMI Classics and Virgin Classics artists	false	[ "The Mozart Boys' Choir (also known as \"The Mozart Boys' Choir of Vienna\" or \"The Mozart Vienna Boys' Choir\"), ) is an Austrian choir of boys founded in 1956 to commemorate the 200 birth anniversary of Wolfgang Amadeus Mozart. Originally it was named Mozart Sängerknaben and now is one of the most famous choirs in Europe and has gained recognition internationally.\n\nHistory\n\nIn 1956 to mark the 200 anniversary of Mozart's birthday, Prof. Erich Schwartzbauer founded \"The Mozart Boys' Choir\", which was directed primarily to perform works by Mozart and Viennese traditional music. Unlike the Vienna Boys' Choir, the boys from the Mozart's choir do not live in a boarding school, but they are allowed to go home after musical instruction and attend a school of their choice in his own neighbourhood. Although the members of the choir come together only once a week for rehearsals and performances, the choir has achieved high standards of quality.\nIn 1995 the community ceased activities due to the death of its founder, so that the choir disappeared. Then, given some legal issues not solved properly the original name of \"Mozart Sängerknaben\" could not be in use anymore, so the musical director of the institution Peter Lang took over the responsibility and in collaboration with parents reorganized the choristers under the new name of \"Amadeus Boys' Choir of Vienna\".\nIn 2006, coinciding with the 250 anniversary of the birth of Mozart, the choir celebrated obtaining its name back, and it is now known again as the Mozart Boys' Choir of Vienna, and it can be clearly distinguished by its 18th knight costume uniform.\n\nRepertoire\n\nMozart's compositions have a special place in choir's selection but it also comprises other composers from the classical period such as Joseph Haydn and Franz Peter Schubert. Audiences are delighted with the extraordinary performances of popular Austrian and German songs and Johann Strauss waltzes and polkas as well. The boys are also trained to perform works by contemporary composers to make them available to its fans.\n\nConcerts and tours\n\nChoir performances are given in a wide range of venues not only in Vienna but around the world. Choirboys have trodden stages as important as the Vienna State Opera, the Vienna Volksoper, the Musikverein's golden hall, among other greatest theaters around the world. They sing in private events or in charming soirées at the Vienna Palais sharing with guests their fine art.\n\nFeatured participations\n\nThe Mozart Boys' Choir has had the opportunity to sing together with the best orchestras of Vienna, like the Vienna Philharmonic, the Vienna Symphonic and the Radio Symphony Orchestra, all of them under the baton of famous conductors. Mozart choristers have also taken part in Christmas Concerts, Austrian films and TV commercials.\n\nExternal links\nOfficial homepage of Mozart Boys' Choir\n\nMozart music ensembles\nAustrian choirs\nBoys' and men's choirs\nChoirs of children\nMusical groups from Vienna\nMusical groups established in 1956\n1956 establishments in Austria", "The Vienna Girls' Choir () is a choir of girls who are between ten and fifteen years of age. Formed in 2004 in Vienna, Austria, the choir is a part of the Wirth Music Academy. Gerald Wirth, the Artistic Director of the Vienna Boys' Choir, assists in the management of the girls' choir, which meets in the historic Josefsstöckl on the grounds of the Vienna Boys' Choir, which was established in 1498.\n\nThe choir performs traditional Austrian folk songs as well as traditional and contemporary pieces from many nations. The girls' choir doesn't tour regularly outside central Europe; a function normally reserved for the much more famous boy's choir. However, in February 2007, the Vienna Girls' Choir traveled to India to perform with a children's choir from New Delhi. This was the premiere of the World Peace Choir Ravi Shankar hosted the meeting with rehearsals at the Ravi Shankar Institute for Music and Performing Arts (RIMPA). In subsequent years the World Peace Choir has welcomed all top choirs and offer all the opportunity to tour internationally as a combined group.\n\nReferences\n\nExternal links \n Vienna Girls' Choir\n\nChoirs of children\nGirls' and women's choirs\nMusical groups established in 2004\nMusical groups from Vienna\nAustrian choirs\n2004 establishments in Austria\nOrganisations based in Vienna" ]

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