title: Fly Me to the Moon (manga)

text: On December 19, 2020, it was announced that the series would receive an original video animation (OVA), which was released on August 18, 2021. On November 6, 2021, it was announced that the series would have a new episode and a second season, with the staff and cast returning to reprise their respective roles. The new episode, titled "Seifuku", was originally scheduled to be streamed on Crunchyroll in Q3 2022, but was delayed to November 22, 2022. The second season is set to premiere in 2023.


title: Fly Me to the Moon (manga)

text: The manga had over 250,000 copies in circulation as of October 2018, over 400,000 copies in circulation as of February 2019, and over 1 million copies in circulation as of October 2019. , the manga had over 4 million copies in circulation.


title: Fly Me to the Moon (manga)

text: In 2019, "Fly Me to the Moon" was one of the winners of the 5th Next Manga Award in the Print category.


title: Chequers

text: Chequers ( ), or Chequers Court, is the country house of the Prime Minister of the United Kingdom. A 16th-century manor house in origin, it is located near the village of Ellesborough, halfway between Princes Risborough and Wendover in Buckinghamshire, United Kingdom, at the foot of the Chiltern Hills. It is about north-west of central London. Coombe Hill, once part of the estate, is located northeast. Chequers has been the country home of the serving Prime Minister since 1921 after the estate was given to the nation by Sir Arthur Lee by a Deed of Settlement, given full effect in the Chequers Estate Act 1917. The house is listed Grade I on the National Heritage List for England.


title: Chequers

text: The name "Chequers" may derive from an early owner of the manor of Ellesborough in the 12th century, Elias Ostiarius (or de Scaccario). The name "Ostiarius" meant an usher of the Court of the Exchequer and "scacchiera" means a chessboard in Italian. Elias Ostiarius's coat of arms included the chequer board of the Exchequer, so the estate may be named after his arms and position at court. The house passed through generations of the Scaccario family (spelt many different ways) until it passed into the D'Awtrey family, whose name was eventually anglicised to Hawtrey.


title: Chequers

text: Alternatively, the house could have been named after the chequer trees ("Sorbus torminalis") that grow in its grounds. There is a reference to this in the book "Elizabeth: Apprenticeship" by David Starkey, which describes the early life of Elizabeth I.


title: Chequers

text: William Hawtrey built the current mansion around 1565, and it may have involved the reconstruction of an earlier building. A reception room in the house bears his name today. Soon after its construction, Hawtrey acted as a custodian at Chequers for Lady Mary Grey, younger sister of Lady Jane Grey and great-granddaughter of King Henry VII. Lady Mary had married without the monarch's consent and was banished from court by Queen Elizabeth I and kept confined as punishment. Lady Mary remained at Chequers for two years. The room where she slept from 1565 to 1567 remains in its original condition.


title: Chequers

text: Through descent in the female line and marriages, the house passed through several families: the Wooleys, the Crokes and the Thurbanes. In 1715, the then owner of the house married John Russell, a grandson of Oliver Cromwell. The house is known for this connection to the Cromwells, and still contains a large collection of Cromwell memorabilia.


title: Chequers

text: In the 19th century, the Russells (by now the Greenhill-Russell family) employed Henry Rhodes to make alterations to the house in the Gothic style. The Tudor panelling and windows were ripped out and battlements with pinnacles installed. Towards the end of the 19th century, the house passed through marriage to the Astley family. In 1892–1901, Bertram Astley restored the house to its Elizabethan origins, with advice from Sir Reginald Blomfield. The restoration and design work was completed by John Birch, architect.


title: Chequers

text: In 1909, the house was taken on a long lease by Arthur Lee and his wife Ruth (an American heiress). Lee immediately re-engaged Blomfield to undertake a restoration of the interior. At the same time, Henry Avray Tipping undertook the design of several walled gardens from 1911 to 1912. In 1912, after the death of the last of the house's ancestral owners Henry Delavel Astley, Ruth Lee and her sister purchased the property and later gave it to Arthur Lee.


title: Chequers

text: During the First World War, the house became a hospital and then a convalescent home for officers. After the war, Chequers became a private home again (now furnished with many 16th century antiques and tapestries and the Cromwellian antiquities), and the childless Lees formed a plan. While previous Prime Ministers had always belonged to the landed classes, the post-First World War era was bringing in a new breed of politician. These men did not have the spacious country houses of previous prime ministers in which to entertain foreign dignitaries or a tranquil place to relax from the affairs of state. After long discussions with then Prime Minister David Lloyd George, Chequers was given to the nation as a country retreat for the serving Prime Minister under the Chequers Estate Act 1917.


title: Chequers

text: The Lees, by this time Lord and Lady Lee of Fareham, left Chequers on 8 January 1921 after a final dinner at the house. A political disagreement between the Lees and Lloyd George soured the handover, which went ahead nonetheless.


title: Chequers

text: A stained glass window in the long gallery of the house commissioned by Lord and Lady Lee of Fareham bears the inscription:


title: Chequers

text: This house of peace and ancient memories was given to England as a thank-offering for her deliverance in the great war of 1914–1918 as a place of rest and recreation for her Prime Ministers for ever.


title: Chequers

text: The property houses one of the largest collections of art and memorabilia pertaining to Oliver Cromwell in the country. It also houses many other national antiques and books, held in the famous "long room", including a diary of Admiral Lord Nelson. However, the collection is not open to the public.


title: Chequers

text: Nearby Coombe Hill was part of the estate until the 1920s when it was given to the National Trust. Coombe Hill and the Chequers Estate are part of the Chilterns Area of Outstanding Natural Beauty, designated in 1965. The landscaped park, woodlands and formal gardens surrounding Chequers are listed Grade II on the Register of Historic Parks and Gardens.


title: Chequers

text: During the early part of the Second World War, it was considered that security at Chequers was inadequate to protect the Prime Minister, Winston Churchill. Therefore, he used Ditchley in Oxfordshire until late 1942, by which time the approach road, clearly visible from the sky, had been camouflaged and other security measures had been put in place.


title: Chequers

text: Chequers under Neville Chamberlain had one telephone – in the kitchen; but Churchill "at once installed a whole battery on his desk and had them in constant use", according to Marshal of the Royal Air Force Lord Portal of Hungerford, who served as Chief of the Air Staff during the Second World War.


title: Chequers

text: On 1 June 2007, the Chequers estate was designated as a protected site under Section 128 of the Serious Organised Crime and Police Act 2005. This specifically criminalised trespass into the estate. In July 2018, Prime Minister Theresa May held a Cabinet meeting at Chequers to agree on the UK's approach to Brexit which became known as the proposed "Chequers plan". In April 2020, Prime Minister Boris Johnson chose to recover at Chequers after being hospitalised at St Thomas's, London, with respiratory complications from COVID-19 which included a three-night stay in ICU.


title: Chequers

text: Sir Arthur Lee donated the Chequers estate after discussions with the then Prime Minister David Lloyd George. Lee noted a new type of politician was emerging, one without large country homes to retreat to and entertain foreign dignitaries. The Chequers Estate Act 1917 contains his reasoning and thoughts for the gift:


title: Why Him?

text: Why Him? is a 2016 American buddy comedy film written and directed by John Hamburg, co-written by Ian Helfer, and starring James Franco and Bryan Cranston with Zoey Deutch, Megan Mullally, Griffin Gluck and Keegan-Michael Key in supporting roles. The film follows a father who tries to stop his daughter's immature tech-millionaire boyfriend from asking her to marry him.


title: Why Him?

text: The film premiered in Los Angeles on December 17, 2016, was released by 20th Century Fox in the United States on December 23, 2016. It received generally negative reviews from critics, but was a financial success, grossing $118 million worldwide on a $52 million dollar budget.


title: Why Him?

text: Stanford student Stephanie Fleming invites her boyfriend Laird Mayhew over to "Netflix and chill". Meanwhile, back home in Grand Rapids, Stephanie's dad Ned is celebrating his 55th birthday with friends and family at an Applebee's restaurant. During a slideshow presentation in his honor, Stephanie drops in via webcam to congratulate him, when suddenly her boyfriend walks in on her and flashes the camera.


title: Why Him?

text: Stephanie drives her family – parents Ned and Barb and younger brother Scotty  – to Laird's villa to meet him. She explains to Ned that Laird is the CEO of a video game company, which has made him extremely wealthy. Laird gives the family a tour of his house, complete with curse words and inappropriate comments about Barb. He then reveals a large tattoo of the Flemings' Christmas card on his back, complete with "Happy Holidays" written underneath. In the living room is a tank with a moose filled completely with its urine. The basement has a bowling alley that Laird built with a mural of Ned, posed in a "crotch-chop" position.


title: Why Him?

text: Ned talks to Stephanie about Laird's behavior and she asks him to give him a chance. Later, Laird invites Ned to go for a walk in the woods outside his house and asks Ned for his blessing to propose to Stephanie to marry him. Ned is quick to say no, which completely blindsides Laird, who had been confident that Ned would say yes. Laird promises to win him over.


title: Why Him?

text: As the family gathers in Laird's living room for a Christmas party, Laird reveals that he bought Ned's struggling printing company as a gift to remove all his debts. Instead of expressing gratitude, Ned punches Laird in the face and they begin to fight. Stephanie and Barb are both angry at the partner's behavior, and the family leaves Laird's home.


title: Why Him?

text: On Christmas Day, the Flemings are celebrating without Stephanie. They are surprised when Laird's helicopter arrives with Stephanie. She is still mad at both Ned and Laird for their behavior and refuses to talk to either of them. Ned and Laird talk and Laird gets Ned's blessing to propose to Stephanie. However, Stephanie declines the proposal saying she is not ready to get married, but she wants them to continue dating.


title: Why Him?

text: Later during the party, Ned and Scotty approach Laird for a new business idea, since they are all part of the same company now. Scotty says they should sell the same toilets Laird has in his home since they would be very profitable. Laird likes the idea and agrees. The couples then dance together as music plays, with Ned referring to Laird as "son".


title: Why Him?

text: Scotty, Ned, and Laird eventually turn the printing company into a toilet factory and become a profitable company. Stephanie uses the Fleming-Mayhew conglomerate to help underdeveloped countries with their sewage projects. Finally, Laird has what he always wanted, to be part of a family.


title: Why Him?

text: There are cameos by technology, gaming, and entertainment figures, including Burnie Burns, Steve Aoki, Richard Blais, Elon Musk, Toby Turner, and Gene Simmons and Paul Stanley of "KISS".


title: Why Him?

text: On November 18, 2014, it was announced that John Hamburg and Ian Helfer were co-writing a comedy film, "Why Him?", for 20th Century Fox. On February 27, 2015, James Franco was in talks to star in the film, playing a young billionaire. Shawn Levy's 21 Laps Entertainment and Ben Stiller's Red Hour Productions were set to produce the film, about a Midwestern father who travels with his family to visit his daughter at college, and finds himself disliking her new billionaire boyfriend. On August 25, 2015, Bryan Cranston was set to star in the film, playing the father. In August 2015, the film was selected by the California Film Commission to receive $5.4 million in tax credits.


title: Why Him?

text: On December 8, 2015, Zoey Deutch was cast in the film's female lead role, as Cranston's character's daughter and the billionaire's girlfriend. Bryce Dallas Howard, Jordana Brewster and Mélanie Laurent were also considered. On January 12, 2016, Griffin Gluck was added to the cast of the film to play Scotty Fleming, the son of Cranston's character. On January 13, 2016, Megan Mullally joined the film to play Barb Fleming, the wife of Ned (Cranston). On January 19, 2016, Keegan-Michael Key was cast as the billionaire's European-hailing estate manager, and following him, Zack Pearlman also signed on for a role in the film. Musician Steve Aoki also appeared in the film.


title: Why Him?

text: "Why Him?" was released in the United States on December 23, 2016, by 20th Century Fox. It was originally planned for a November 11, 2016 release date.


title: Why Him?

text: "Why Him?" grossed $60.3 million in the United States and Canada and $57.8 million in other territories for a worldwide total of $118.1 million, against a production budget of $52 million.


title: Why Him?

text: "Why Him?" was expected to gross $10–14 million from 2,917 theaters over its first four days of release. It grossed $3.9 million on its first day and $11 million during its opening weekend (a four-day total of $15.5 million), finishing 4th at the box office.


title: Why Him?

text: On Rotten Tomatoes, "Why Him?" has an approval rating of based on reviews, with an average rating of . The website's critical consensus reads: "Solidly cast but overall misconceived, "Why Him?" offers the odd chuckle, but ultimately adds disappointingly little to its tired father-vs.-fiancé formula." On Metacritic, the film has a weighted average score of 39 out of 100, based on 30 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.


title: Why Him?

text: French political scientist Thibault Muzergues remarks in his book "The Great Class Shift" that the film captures the tension created by the contrast in values between the Protestant work ethic of the suburban middle class, as represented by Ned, and the looser approach of Laird and other members of the creative class, a real sociopolitical phenomenon.


title: 74th Primetime Emmy Awards

text: The 74th Primetime Emmy Awards honored the best in American prime time television programming from June 1, 2021, until May 31, 2022, as chosen by the Academy of Television Arts & Sciences (ATAS). The awards ceremony was held live on September 12, 2022, and was preceded by the 74th Primetime Creative Arts Emmy Awards on September 3 and 4, at the Microsoft Theater in Downtown Los Angeles, California. The ceremony was broadcast in the United States on NBC and Peacock. During the ceremony, Emmy Awards were handed out in 25 categories. The event was produced through Done and Dusted and Hudlin Entertainment and was directed by Hamish Hamilton. Kenan Thompson was the ceremony's host.


title: 74th Primetime Emmy Awards

text: At the main ceremony, "The White Lotus" received the most awards with five, including Outstanding Limited or Anthology Series. "Ted Lasso" won four awards, including its second consecutive award for Outstanding Comedy Series, while "Abbott Elementary" won two awards and "Hacks" won one. "Succession" led all dramas with three wins, including its second Outstanding Drama Series win; "Squid Game" received two awards, and "Euphoria" and "Ozark" received one each. Other winning programs include "Dopesick", "The Dropout", "Jerrod Carmichael: Rothaniel", "Last Week Tonight with John Oliver", "Lizzo's Watch Out for the Big Grrrls", and "Saturday Night Live". Including Creative Arts Emmys, "The White Lotus" led all programs with 10 wins; HBO and HBO Max led all networks and platforms with 38 total wins.


title: 74th Primetime Emmy Awards

text: The nominations for the 74th Primetime Emmy Awards were announced on July 12, 2022, by J. B. Smoove and Melissa Fumero alongside Television Academy CEO Frank Scherma. Including nominations at the 74th Primetime Creative Arts Emmy Awards, "Succession" led all programs with 25 nominations, followed by "Ted Lasso" and "The White Lotus" with 20 nominations each. HBO and HBO Max combined for 140 nominations, more than any other network/platform; HBO's 108 nominations surpassed Netflix's second-place tally of 105. "Succession" earned 14 nominations for acting, surpassing the previous drama series record of 12 set by "The West Wing" and the overall record of 13 set by "Roots" and "Rich Man, Poor Man". "Squid Game" became the first non-English-language program to be nominated for Outstanding Drama Series. Quinta Brunson became the first black woman to earn three comedy nominations in a single year for "Abbott Elementary". BET, through its streaming service, earned its first major scripted series nomination with "The Ms. Pat Show".


title: 74th Primetime Emmy Awards

text: The winners were announced on September 12, following the Creative Arts Emmys on September 3 and 4. HBO and HBO Max led all networks and platforms with 38 total wins, reclaiming the top spot after falling behind Netflix the previous year; the latter had won 44 the previous ceremony, but only won 26 this year. "The White Lotus" led all programs with five major wins, while "Succession" and "Ted Lasso" each won their second overall series awards. The former also led all programs when including Creative Arts Emmys with 10. For their work on "Squid Game", Lee Jung-jae and Hwang Dong-hyuk became the first Asians to win for Outstanding Lead Actor in a Drama Series and Outstanding Directing for a Drama Series, respectively. At age 26, for her performance in "Euphoria", Zendaya became the youngest two-time winner for acting and the first black woman to win Outstanding Lead Actress in a Drama Series twice, while Sheryl Lee Ralph became the second black actress to win Outstanding Supporting Actress in a Comedy Series for her performance in "Abbott Elementary", following Jackée Harry's win 35 years earlier. "Abbott Elementary" creator Brunson also became the second black female to win Outstanding Writing for a Comedy Series, following Lena Waithe's win for "Master of None" in 2017.


title: 74th Primetime Emmy Awards

text: Winners are listed first, highlighted in boldface, and indicated with a double dagger (‡). For simplicity, producers who received nominations for program awards have been omitted.


title: 74th Primetime Emmy Awards

text: The Governors Award was presented to the Geena Davis Institute on Gender in Media "in recognition of their efforts to promote gender balance and foster inclusion throughout the entertainment industry".


title: 74th Primetime Emmy Awards

text: For the purposes of the lists below, "major" constitutes the categories listed above (program, acting, directing, and writing), while "total" includes the categories presented at the Creative Arts Emmy Awards.


title: 74th Primetime Emmy Awards

text: To avoid disputes over how different services combined nominations, the Television Academy did not release its own tally of nominations by network. Totals are based on platforms listed with each nomination.


title: 74th Primetime Emmy Awards

text: In April 2022, the Academy of Television Arts & Sciences (ATAS, also known as the Television Academy) announced that the 74th Primetime Emmy Awards would be held on September 12; the corresponding Creative Arts ceremonies were announced for September 3 and 4. The main ceremony was shown on NBC as part of a four-year rotation; the ceremony was moved to a Monday to accommodate NBC's "Sunday Night Football" coverage. The broadcast was also streamed on Peacock. The ceremony was produced by Hudlin Entertainment and Done and Dusted, with Reginald Hudlin, Ian Stewart, Byron Phillips and Jane Mun serving as executive producers. This marked Hudlin's third year and Done and Dusted's fifth year producing the Emmys ceremony. Hamish Hamilton served as director for the fifth time. The ceremony returned to the Microsoft Theater in Downtown Los Angeles, California after two years at other venues due to the COVID-19 pandemic. Zedd and comedian Sam Jay served as the ceremony DJ and announcer, respectively.


title: 74th Primetime Emmy Awards

text: On August 9, 2022, it was announced that Kenan Thompson would host the ceremony. The producers reportedly approached Chris Rock and Dwayne Johnson to host the ceremony, but had no success. NBC late-night hosts Jimmy Fallon and Seth Meyers – both past Emmys hosts – were also reportedly uninterested in the role. Scherma initially indicated that a hostless ceremony was being considered, but the Television Academy quickly clarified that such an option was not being pursued.


title: 74th Primetime Emmy Awards

text: In December 2021, ATAS and the National Academy of Television Arts and Sciences (NATAS) announced a major realignment of the Emmy Award ceremonies. This was in response to the growth of streaming television, which blurred the lines in determining which shows should fall under the Daytime or Primetime Emmys. The two ceremonies' scopes were changed to revolve around factors such as the themes and frequency of such programming, rather than strictly dayparts.


title: 74th Primetime Emmy Awards

text: Among the major changes that took effect at the 49th Daytime Emmy Awards in June 2022 and at the 74th Primetime Emmy Awards in September 2022:


title: 74th Primetime Emmy Awards

text: Categories for game shows and instructional programming remained split this year between the Daytime and Primetime Emmys, with their realignment to be determined in 2023.


title: 74th Primetime Emmy Awards

text: Several other rule changes were implemented for the ceremony. Most notably, programs were no longer categorized as dramas or comedies based on runtime; instead, producers determined where their programs were submitted, with the Television Academy reserving the right to review decisions. The distinction had previously been adjusted in 2015 to consider half-hour programs as comedies and hour-long programs as dramas. The exception to the new rule were programs under 20 minutes, which had to be submitted in short-form categories. The Television Academy also revised the description for the Governors Award and clarified that limited series must fully resolve story arcs with "no on-going storyline and/or main characters in subsequent seasons".


title: 74th Primetime Emmy Awards

text: In July, the categories for the broadcast were revealed. Outstanding Variety Special (Live) and Outstanding Variety Special (Pre-Recorded) were moved to the Creative Arts ceremonies, while Outstanding Writing for a Variety Special replaced Outstanding Writing for a Variety Series in the main broadcast.


title: 74th Primetime Emmy Awards

text: The broadcast generally received mixed to negative reviews from critics. Alan Sepinwall and Rob Sheffield from "Rolling Stone" each praised the speeches from the winners, particularly Ralph's, while criticizing many of the production elements such as the "In Memoriam" segment and the frequent play-off music. "The Hollywood Reporter"s Daniel Fienberg criticized other production decisions, such as the opening number, the dedicated DJ and announcer, and the various montages. He ultimately found the broadcast forgettable, remarking in reference to the previous Academy Awards six months prior: "At least it wasn't a catastrophe." Mike Hale, writing for "The New York Times", found the scripted portions weak and remarked that there "seemed to be a consensus, organized or not, to keep it light".


title: 74th Primetime Emmy Awards

text: "The Boston Globe"s Yvonne Abraham complimented Thompson as "a likeable host" and praised several of the speeches and presenters, but she ultimately found the ceremony to be "just another TV awards show... long and stuffed with unnecessary montages and comedy bits". Robert Lloyd of the "Los Angeles Times" also complimented Thompson despite being "saddled to some dumb bits". However, he criticized the show's pace, calling it fast and "somewhat exhausting", and compared the atmosphere to "watching [a party] through a window". Conversely, Manuel Betancourt was more positive in his review for "The A.V. Club", remarking that the program "offered plenty of laughs" and that it "served as a reminder that the boob tube still has the power to inspire wide-eyed girls and boys alike".


title: 74th Primetime Emmy Awards

text: Competing with the season premiere of "Monday Night Football" on ABC and ESPN, the ceremony was viewed by 5.92 million people in the United States, making it the least-viewed in Emmys history, representing a 19% decrease over the previous year's ceremony. It also achieved a 1.09 rating among adults ages 18–49. The ratings figures only include those who watched the telecast on NBC, and not those who streamed it on Peacock.


title: 74th Primetime Emmy Awards

text: The annual In Memoriam segment was presented by Anthony Anderson and featured John Legend performing the song "Pieces".


title: Glenn Gould

text: Glenn Herbert Gould (; né Gold; September 25, 1932October 4, 1982) was a Canadian classical pianist. He was one of the most famous and celebrated pianists of the 20th century, and was renowned as an interpreter of the keyboard works of Johann Sebastian Bach. Gould's playing was distinguished by remarkable technical proficiency and a capacity to articulate the contrapuntal texture of Bach's music.


title: Glenn Gould

text: Gould rejected most of the standard Romantic piano literature by Chopin, Liszt, Rachmaninoff, and others, in favour of Bach and Beethoven mainly, along with some late-Romantic and modernist composers. Although his recordings were dominated by Bach and Beethoven, Gould's repertoire was diverse, including works by Mozart, Haydn, Scriabin, and Brahms; pre-Baroque composers such as Jan Pieterszoon Sweelinck, William Byrd, and Orlando Gibbons; and 20th-century composers including Paul Hindemith, Arnold Schoenberg, and Richard Strauss. Gould was known for his eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and behaviour. He stopped giving concerts at age 31 to concentrate on studio recording and other projects.


title: Glenn Gould

text: Gould was also a writer, broadcaster, composer and conductor. He was a prolific contributor to musical journals, in which he discussed music theory and outlined his musical philosophy. He performed on television and radio, and produced three "musique concrète" radio documentaries, the "Solitude Trilogy", about isolated areas of Canada. Though known chiefly as a pianist, Gould capped off his musical career with a recording of Wagner's "Siegfried Idyll" as conductor.


title: Glenn Gould

text: Glenn Herbert Gould was born at home in Toronto, on September 25, 1932, the only child of Russell Herbert Gold (1901–1996) and Florence Emma Gold (née Greig; 1891–1975), Presbyterians of Scottish, English, and Norwegian ancestry. Gould's family's surname was changed to Gould informally around 1939 to avoid being mistaken for Jewish, given the prevailing anti-Semitism of pre-war Toronto. Gould had no Jewish ancestry, though he sometimes made jokes on the subject, such as "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war." His childhood home has been named a historic site.


title: Glenn Gould

text: Gould's interest in music and his talent as a pianist were evident very early. Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. Hoping he would become a successful musician, she had exposed him to music during her pregnancy. She later taught him the piano. As a baby, he reportedly hummed instead of crying and wiggled his fingers as if playing chords, leading his doctor to predict that he would "be either a physician or a pianist". He learned to read music before he could read words, and it was observed that he had perfect pitch at age three. When presented with a piano, the young Gould was reported to strike single notes and listen to their long decay, a practice his father Bert noted was different from typical children. Gould's interest in the piano was concomitant with an interest in composition. He played his pieces for family, friends, and sometimes large gatherings—including, in 1938, a performance at the Emmanuel Presbyterian Church (a few blocks from the Gould family home) of one of his compositions.


title: Glenn Gould

text: Gould first heard a live musical performance by a celebrated soloist at age six. This profoundly affected him. He later described the experience:


title: Glenn Gould

text: It was Hofmann. It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind. They were all "orchestral" sounds, but "I" was playing them all, and suddenly I was Hofmann. I was enchanted.


title: Glenn Gould

text: At age 10, he began attending the Royal Conservatory of Music in Toronto (known until 1947 as the Toronto Conservatory of Music). He studied music theory with Leo Smith, organ with Frederick C. Silvester, and piano with Alberto Guerrero. Around the same time, he injured his back as a result of a fall from a boat ramp on the shore of Lake Simcoe. This incident is almost certainly related to the adjustable-height chair his father made shortly thereafter. Gould's mother would urge the young Gould to sit up straight at the keyboard. He used this chair for the rest of his life, taking it with him almost everywhere. The chair was designed so that Gould could sit very low and allowed him to pull down on the keys rather than striking them from above, a central technical idea of Guerrero's.


title: Glenn Gould

text: Gould developed a technique that enabled him to choose a very fast tempo while retaining the "separateness" and clarity of each note. His extremely low position at the instrument permitted him more control over the keyboard. Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of Ravel's "La valse" and Liszt's transcriptions of Beethoven's Fifth and Sixth Symphonies. Gould worked from a young age with Guerrero on a technique known as finger-tapping: a method of training the fingers to act more independently from the arm.


title: Glenn Gould

text: Gould passed his final Conservatory examination in piano at age 12, achieving the highest marks of any candidate, and thus attaining professional standing as a pianist. One year later he passed the written theory exams, qualifying for an Associate of the Toronto Conservatory of Music (ATCM) diploma.


title: Glenn Gould

text: Gould was a child prodigy and was described in adulthood as a musical phenomenon. He claimed to have almost never practised on the piano itself, preferring to study repertoire by reading, another technique he had learned from Guerrero. He may have spoken ironically about his practising, though, as there is evidence that, on occasion, he did practise quite hard, sometimes using his own drills and techniques.


title: Glenn Gould

text: Gould said he did not understand other pianists' need to continuously reinforce their relationship with the instrument by practising many hours a day. He seemed able to practise mentally, once preparing for a recording of Brahms's piano works without playing them until a few weeks before the sessions. Gould could play a vast repertoire of piano music, as well as a wide range of orchestral and operatic transcriptions, from memory. He could "memorize at sight" and once challenged a friend to name any piece of music that he could not "instantly play from memory".


title: Glenn Gould

text: The piano, Gould said, "is not an instrument for which I have any great love as such ... [but] I have played it all my life, and it is the best vehicle I have to express my ideas." In the case of Bach, Gould noted, "[I] fixed the action in some of the instruments I play on—and the piano I use for all recordings is now so fixed—so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things."


title: Glenn Gould

text: As a teenager, Gould was significantly influenced by Artur Schnabel, Rosalyn Tureck's recordings of Bach (which he called "upright, with a sense of repose and positiveness"), and the conductor Leopold Stokowski. Gould was known for his vivid imagination. Listeners regarded his interpretations as ranging from brilliantly creative to outright eccentric. His pianism had great clarity and erudition, particularly in contrapuntal passages, and extraordinary control. Gould believed the piano to be "a contrapuntal instrument" and his whole approach to music was centered in the Baroque. Much of the homophony that followed he felt belongs to a less serious and less spiritual period of art.


title: Glenn Gould

text: Gould had a pronounced aversion to what he termed "hedonistic" approaches to piano repertoire, performance, and music generally. For him, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozart, for example, became increasingly susceptible later in his career. He associated this drift toward hedonism with the emergence of a cult of showmanship and gratuitous virtuosity on the concert platform in the 19th century and later. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.


title: Glenn Gould

text: On June 5, 1938, at age five, Gould played in public for the first time, joining his family on stage to play piano at a church service at the Business Men's Bible Class in Uxbridge, Ontario, in front of a congregation of about 2,000. In 1945, at 13, he made his first appearance with an orchestra in a performance of the first movement of Beethoven's 4th Piano Concerto with the Toronto Symphony. His first solo recital followed in 1947, and his first recital on radio was with the CBC in 1950. This was the beginning of Gould's long association with radio and recording. He founded the Festival Trio chamber group in 1953 with cellist Isaac Mamott and violinist Albert Pratz.


title: Glenn Gould

text: In 1957, Gould undertook a tour of the Soviet Union, becoming the first North American to play there since World War II. His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism. Gould made his Boston debut in 1958, playing for the Peabody Mason Concert Series. On January 31, 1960, Gould made his American television debut on CBS's "Ford Presents" series, performing Bach's Keyboard Concerto No. 1 in D minor (BWV 1052) with Leonard Bernstein conducting the New York Philharmonic.


title: Glenn Gould

text: Gould was convinced that the institution of the public concert was an anachronism and a "force of evil", leading to his retirement from concert performance. He argued that public performance devolved into a sort of competition, with a non-empathetic audience (musically and otherwise) mostly attendant to the possibility of the performer erring or failing critical expectation. He set forth this doctrine, half in jest, in "GPAADAK", the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds. On 10 April 1964, Gould gave his last public performance, at Los Angeles's Wilshire Ebell Theater. Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's "The Art of Fugue", and Hindemith's Piano Sonata No. 3. Gould performed fewer than 200 concerts during his career, of which fewer than 40 were outside Canada. For a pianist such as Van Cliburn, 200 concerts would have amounted to about two years' touring.


title: Glenn Gould

text: One of Gould's reasons for abandoning live performance was his aesthetic preference for the recording studio, where, in his words, he developed a "love affair with the microphone". There, he could control every aspect of the final musical "product" by selecting parts of various takes. He felt that he could realize a musical score more fully this way. Gould felt strongly that there was little point in rerecording centuries-old pieces if the performer had no new perspective to bring. For the rest of his life, he eschewed live performance, focusing instead on recording, writing, and broadcasting.


title: Glenn Gould

text: Gould was widely known for his unusual habits. He often hummed or sang while he played, and his audio engineers were not always able to exclude his voice from recordings. Gould claimed that his singing was unconscious and increased in proportion to his inability to produce his intended interpretation on a given piano. It is likely that the habit originated in his having been taught by his mother to "sing everything that he played", as his biographer Kevin Bazzana wrote. This became "an unbreakable (and notorious) habit". Some of Gould's recordings were severely criticised because of this background "vocalising". For example, a reviewer of his 1981 rerecording of the "Goldberg Variations" wrote that many listeners would "find the groans and croons intolerable". Gould was known for his peculiar body movements while playing and his insistence on absolute control over every aspect of his environment. The temperature of the recording studio had to be precisely regulated; he invariably insisted that it be extremely warm. According to another of Gould's biographers, Otto Friedrich, the air-conditioning engineer had to work just as hard as the recording engineers.


title: Glenn Gould

text: The piano had to be set at a certain height and would be raised on wooden blocks if necessary. A rug would sometimes be required for his feet. He had to sit exactly above the floor, and would play concerts only with the chair his father had made. He used this chair even when the seat was completely worn. His chair is so closely identified with him that it is shown in a place of honour in a glass case at Library and Archives Canada.


title: Glenn Gould

text: Conductors had mixed responses to Gould and his playing habits. George Szell, who led Gould in 1957 with the Cleveland Orchestra, remarked to his assistant, "That nut's a genius." Bernstein said, "There is nobody quite like him, and I just love playing with him." Bernstein created a stir at the concert of 6 April 1962, when, just before the New York Philharmonic was to perform the Brahms Piano Concerto No. 1 in D minor with Gould, he informed the audience that he was assuming no responsibility for what they were about to hear. He asked the audience: "In a concerto, who is the bossthe soloist or the conductor?", to which the audience laughed. "The answer is, of course, sometimes the one and sometimes the other, depending on the people involved." Specifically, Bernstein was referring to their rehearsals, with Gould's insistence that the entire first movement be played at half the indicated tempo. The speech was interpreted by Harold C. Schonberg, music critic for "The New York Times", as an abdication of responsibility and an attack on Gould. Plans for a studio recording of the performance came to nothing. The live radio broadcast was subsequently released on CD, Bernstein's disclaimer included.


title: Glenn Gould

text: Gould was averse to cold and wore heavy clothing (including gloves) even in warm places. He was once arrested, possibly being mistaken for a vagrant, while sitting on a park bench in Sarasota, Florida, dressed in his standard all-climate attire of coat, hat and mittens. He also disliked social functions. He hated being touched, and in later life limited personal contact, relying on the telephone and letters for communication. On a visit to Steinway Hall in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould with a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue because of it. He went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent. He was known for cancelling performances at the last minute, which is why Bernstein's aforementioned public disclaimer opened with, "Don't be frightened, Mr. Gould is here ... [he] will appear in a moment."


title: Glenn Gould

text: In his liner notes and broadcasts, Gould created more than two dozen alter egos for satirical, humorous, and didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best-known are the German musicologist Karlheinz Klopweisser, the English conductor Sir Nigel Twitt-Thornwaite, and the American critic Theodore Slutz. These facets of Gould, whether interpreted as neurosis or "play", have provided ample material for psychobiography.


title: Glenn Gould

text: Gould was a teetotaller and did not smoke. He did not cook; instead he often ate at restaurants and relied on room service. He ate one meal a day, supplemented by arrowroot biscuits and coffee. In his later years he claimed to be vegetarian—in a letter to cellist Virginia Katims on January 20, 1973, Gould said he had been vegetarian for about ten years—but his private notepads reveal that he ate chicken, Dover sole, roast beef and veal. Fran's Restaurant in Toronto was a regular haunt of Gould's. A CBC profile noted, "sometime between two and three every morning, Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth, and order the same meal of scrambled eggs."


title: Glenn Gould

text: Gould lived a private life. The documentary filmmaker Bruno Monsaingeon said of him, "No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly." He never married, and biographers have spent considerable time on his sexuality. Bazzana writes that "it is tempting to assume that Gould was asexual, an image that certainly fits his aesthetic and the persona he sought to convey, and one can read the whole Gould literature and be convinced that he died a virgin"—but he also mentions that evidence points to "a number of relationships with women that may or may not have been platonic and ultimately became complicated and were ended".


title: Glenn Gould

text: One piece of evidence arrived in 2007. When Gould was in Los Angeles in 1956, he met Cornelia Foss, an art instructor, and her husband Lukas, a conductor. After several years, she and Gould became lovers. In 1967, she left her husband for Gould, taking her two children with her to Toronto. She purchased a house near Gould's apartment. In 2007, Foss confirmed that she and Gould had had a love affair for several years. According to her, "There were a lot of misconceptions about Glenn, and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual." Their affair lasted until 1972, when she returned to her husband. As early as two weeks after leaving her husband, Foss noticed disturbing signs in Gould, alluding to unusual behaviour that was more than "just neurotic". Specifically, he believed that "someone was spying on him", according to Foss's son.


title: Glenn Gould

text: Though an admitted hypochondriac, Gould had many pains and ailments, but his autopsy revealed few underlying problems in areas that often troubled him. He worried about everything from high blood pressure (which in his later years he recorded in diary form) to the safety of his hands. (Gould rarely shook people's hands, and habitually wore gloves.) The spine injury he experienced as a child led physicians to prescribe, usually independently, an assortment of analgesics, anxiolytics, and other drugs. Bazzana has speculated that Gould's increasing use of a variety of prescription medications over his career may have had a deleterious effect on his health. It had reached the stage, Bazzana writes, that "he was taking pills to counteract the side effects of other pills, creating a cycle of dependency". In 1956, Gould told photojournalist Jock Carroll, "my hysteria about eating. It's getting worse all the time." In his biography, psychiatrist Peter F. Ostwald noted Gould's increasing neurosis about food in the mid-1950s, something Gould had spoken to him about. Ostwald later discussed the possibility that Gould had developed a "psychogenic eating disorder" around this time. In 1956, Gould was also taking Thorazine, an anti-psychotic medication, and reserpine, another anti-psychotic, which can also be used to lower blood pressure. Cornelia Foss has said that Gould took many antidepressants, which she blamed for his deteriorating mental state.


title: Glenn Gould

text: Whether Gould's behaviour fell within the autism spectrum has been debated. The diagnosis was first suggested by psychiatrist Peter Ostwald, a friend of Gould's, in the 1997 book "Glenn Gould: The Ecstasy and Tragedy of Genius". There has also been speculation that he may have had bipolar disorder, because he sometimes went several days without sleep, had extreme increases in energy, drove recklessly, and in later life endured severe depressive episodes.


title: Glenn Gould

text: On September 27, 1982, two days after his 50th birthday, after experiencing a severe headache, Gould had a stroke that paralyzed the left side of his body. He was admitted to Toronto General Hospital and his condition rapidly deteriorated. By October 4, there was evidence of brain damage, and Gould's father decided that his son should be taken off life support. Gould's public funeral was held in St. Paul's Anglican Church on October 15 with singing by Lois Marshall and Maureen Forrester. The service was attended by over 3,000 people and was broadcast on the CBC. He is buried next to his parents in Toronto's Mount Pleasant Cemetery (section 38, lot 1050). The first few bars of the "Goldberg Variations" are carved on his grave marker. An animal lover, Gould left half his estate to the Toronto Humane Society; the other half went to the Salvation Army.


title: Glenn Gould

text: In 2000, a movement disorder neurologist suggested in a paper that Gould had dystonia, "a problem little understood in his time."


title: Glenn Gould

text: Gould periodically told interviewers he would have been a writer if he had not been a pianist. He expounded his criticism and philosophy of music and art in lectures, convocation speeches, periodicals, and CBC radio and television documentaries. Gould participated in many interviews, and had a predilection for scripting them to the extent that they may be seen to be as written work as much as off-the-cuff discussions. Gould's writing style was highly articulate, but sometimes florid, indulgent, and rhetorical. This is especially evident in his (frequent) attempts at humour and irony. Bazzana writes that although some of Gould's "conversational dazzle" found its way into his prolific written output, his writing was "at best uneven [and] at worst awful". While offering "brilliant insights" and "provocative theses", Gould's writing is often marred by "long, tortuous sentences" and a "false formality", Bazzana writes.


title: Glenn Gould

text: In his writing, Gould praised certain composers and rejected what he deemed banal in music composition and its consumption by the public, and also gave analyses of the music of Richard Strauss, Alban Berg and Anton Webern. Despite a certain affection for Dixieland jazz, Gould was mostly averse to popular music. He enjoyed a jazz concert with his friends as a youth, mentioned jazz in his writings, and once criticized the Beatles for "bad voice leading"—while praising Petula Clark and Barbra Streisand. Gould and jazz pianist Bill Evans were mutual admirers, and Evans made his seminal record "Conversations with Myself" using Gould's celebrated Steinway model CD 318 piano.


title: Glenn Gould

text: Gould's perspective on art is often summed up by this 1962 quotation: "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity."


title: Glenn Gould

text: Gould repeatedly called himself "the last puritan", a reference to the philosopher George Santayana's 1935 novel of the same name. But he was progressive in many ways, promulgating the atonal composers of the early 20th century, and anticipating, through his deep involvement in the recording process, the vast changes technology had on the production and distribution of music. Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers, this way:


title: Glenn Gould

text: He was progressive and anti-progressive at once, and likewise at once both a critic of the "Zeitgeist" and its most interesting expression. He was, in effect, stranded on a beachhead of his own thinking between past and future. That he was not able, by himself, to fashion a bridge between them is neither surprising, nor, in the end, disappointing. We should see this failure, rather, as an aspect of his genius. He both was and was not a man of his time.


title: Glenn Gould

text: The issue of "authenticity" in relation to an approach like Gould's has been greatly debated (although less so by the end of the 20th century): is a recording less authentic or "direct" for having been highly refined by technical means in the studio? Gould likened his process to that of a film director—one knows that a two-hour film was not made in two hours—and implicitly asked why the recording of music should be different. He went so far as to conduct an experiment with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred. Each group chose different points, but none was wholly successful. While the test was hardly scientific, Gould remarked, "The tape does lie, and nearly always gets away with it".


title: Glenn Gould

text: In the lecture and essay "Forgery and Imitation in the Creative Process", one of his most significant texts, Gould makes explicit his views on authenticity and creativity. He asks why the epoch in which a work is received influences its reception as "art", postulating a sonata of his own composition that sounds so like one of Haydn's that it is received as such. If, instead, the sonata had been attributed to an earlier or later composer, it becomes more or less interesting as a piece of music. Yet it is not the work that has changed but its relation within the accepted narrative of music history. Similarly, Gould notes the "pathetic duplicity" in the reception of high-quality forgeries by Han van Meegeren of new paintings attributed to the Dutch master Johannes Vermeer, before and after the forgery was known.


title: Glenn Gould

text: Gould preferred an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork: "What gives us the right to assume that in the work of art we must receive a direct communication with the historical attitudes of another period? ... moreover, what makes us assume that the situation of the man who wrote it accurately or faithfully reflects the situation of his time? ... What if the composer, as historian, is faulty?"


title: Glenn Gould

text: In creating music, Gould much preferred the control and intimacy provided by the recording studio. He disliked the concert hall, which he compared to a competitive sporting arena. He gave his final public performance in 1964, and thereafter devoted his career to the studio, recording albums and several radio documentaries. He was attracted to the technical aspects of recording, and considered the manipulation of tape to be another part of the creative process. Although Gould's recording studio producers have testified that "he needed splicing less than most performers", Gould used the process to give himself total artistic control over the recording process. He recounted his recording of the A minor fugue from Book I of "The Well-Tempered Clavier" and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.


title: Glenn Gould

text: Gould's first commercial recording (of Berg's Piano sonata, Op. 1) came in 1953 on the short-lived Canadian Hallmark label. He soon signed with Columbia Records' classical music division and, in 1955, recorded "", his breakthrough work. Although there was some controversy at Columbia about the appropriateness of this "debut" piece, the record received extraordinary praise and was among the best-selling classical music albums of its era. Gould became closely associated with the piece, playing it in full or in part at many recitals. A new recording of the "Goldberg Variations", in 1981, was among his last albums; the piece was one of a few he recorded twice in the studio. The 1981 release was one of CBS Masterworks' first digital recordings. The 1955 interpretation is highly energetic and often frenetic; the later is slower and more deliberate—Gould wanted to treat the aria and its 30 variations as a cohesive whole.


title: Glenn Gould

text: Gould said Bach was "first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived". He recorded most of Bach's other keyboard works, including both books of "The Well-Tempered Clavier" and the partitas, French Suites, English Suites, inventions and sinfonias, keyboard concertos, and a number of toccatas (which interested him least, being less polyphonic). For his only recording at the organ, he recorded some of "The Art of Fugue", which was also released posthumously on piano.


title: Glenn Gould

text: As for Beethoven, Gould preferred the composer's early and late periods. He recorded all five of the piano concertos, 23 of the piano sonatas, and numerous bagatelles and variations. Gould was the first pianist to record any of Liszt's piano transcriptions of Beethoven's symphonies (beginning with the Fifth Symphony, in 1967, with the Sixth released in 1969).


title: Glenn Gould

text: Gould also recorded works by Brahms, Mozart, and many other prominent piano composers, though he was outspoken in his criticism of the Romantic era as a whole. He was extremely critical of Chopin. When asked whether he found himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment—maybe once a year or twice a year for myself. But it doesn't convince me." But in 1970, he played Chopin's B minor sonata for the CBC and said he liked some of the miniatures and "sort of liked the first movement of the B minor".


title: Glenn Gould

text: Although he recorded all of Mozart's sonatas and admitted enjoying the "actual playing" of them, Gould claimed to dislike Mozart's later works, to the extent of arguing (perhaps facetiously) that Mozart died too late rather than too early. He was fond of a number of lesser-known composers such as Orlando Gibbons, whose "Anthems" he had heard as a teenager, and whose music he felt a "spiritual attachment" to. He recorded a number of Gibbons's keyboard works, and called him his favourite composer, despite his better-known admiration for Bach. He made recordings of piano music by Jean Sibelius (the Sonatines and "Kyllikki"), Georges Bizet (the "Variations Chromatiques de Concert" and the "Premier nocturne"), Richard Strauss (the Piano Sonata, the Five Pieces, and "Enoch Arden" with Claude Rains), and Hindemith (the three piano sonatas and the sonatas for brass and piano). He also made recordings of Schoenberg's complete piano works. In early September 1982, Gould made his final recording: Strauss's Piano Sonata in B minor.


title: Glenn Gould

text: The success of Gould's collaborations was to a degree dependent upon his collaborators' receptiveness to his sometimes unconventional readings of the music. Stegemann considered Gould's television collaboration with American violinist Yehudi Menuhin in 1965, in which they played works by Bach, Beethoven and Schoenberg, a success because "Menuhin was ready to embrace the new perspectives opened up by an unorthodox view". His 1966 collaboration with soprano Elisabeth Schwarzkopf, however, recording Strauss's "Ophelia Lieder", was deemed an "outright fiasco". Schwarzkopf believed in "total fidelity" to the score, but objected to the temperature, which was to Gould's liking:The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned. But we persevered nonetheless. It wasn't easy for me. Gould began by improvising something Straussian—we thought he was simply warming up, but no, he continued to play like that throughout the actual recordings, as though Strauss's notes were just a pretext that allowed him to improvise freely.Gould recorded Schoenberg, Hindemith, and Ernst Krenek with numerous vocalists, including Donald Gramm and Ellen Faull. He also recorded Bach's six sonatas for violin and harpsichord (BWV 1014–1019) with Jaime Laredo, and the three sonatas for viola da gamba and keyboard with Leonard Rose. Claude Rains narrated their recording of Strauss's "Enoch Arden" melodrama. Gould also collaborated with members of the New York Philharmonic, the flutist Julius Baker and the violinist Rafael Druian in a recording of Bach's Brandenburg Concerto No. 4, and with Leopold Stokowski and the American Symphony Orchestra in a performance of Beethoven's Piano Concerto No. 5 in 1966.


title: Glenn Gould

text: Gould made numerous television and radio programs for CBC Television and CBC Radio. Notable productions include his "musique concrète" "Solitude Trilogy", which consists of "The Idea of North", a meditation on Northern Canada and its people; "The Latecomers", about Newfoundland; and "The Quiet in the Land", about Mennonites in Manitoba. All three use a radiophonic electronic-music technique that Gould called "contrapuntal radio", in which several people are heard speaking at once—much like the voices in a fugue—manipulated through overdubbing and editing. His experience of driving across northern Ontario while listening to Top 40 radio in 1967 inspired one of his most unusual radio pieces, "The Search for Petula Clark", a witty and eloquent dissertation on Clark's recordings.


title: Glenn Gould

text: Also among Gould's CBC programs was an educational lecture on the music of Bach, "Glenn Gould On Bach", which featured a collaborative performance with Julius Baker and Oscar Shumsky of the Brandenburg Concerto No. 5.


title: Glenn Gould

text: Gould was also a prolific transcriber of orchestral repertoire for piano. He transcribed his own Wagner and Ravel recordings, as well as Strauss's operas and Schubert's and Bruckner's symphonies, which he played privately for pleasure.


title: Glenn Gould

text: Gould dabbled in composition, with few finished works. As a teenager, he wrote chamber music and piano works in the style of the Second Viennese school. Significant works include a string quartet, which he finished in his 20s (published 1956, recorded 1960), and his cadenzas to Beethoven's Piano Concerto No. 1. Later works include the Lieberson Madrigal (soprano, alto, tenor, bass [SATB] and piano), and "So You Want to Write a Fugue?" (SATB with piano or string-quartet accompaniment). His String Quartet (Op. 1) received a mixed reaction: the "Christian Science Monitor" and "Saturday Review" were quite laudatory, the "Montreal Star" less so. There is little critical commentary on Gould's compositions because there are few of them; he never succeeded beyond Opus 1, and left a number of works unfinished. He attributed his failure as a composer to his lack of a "personal voice". Most of his work is published by Schott Music. The recording "Glenn Gould: The Composer" contains his original works.


title: Glenn Gould

text: Towards the end of his life, Gould began conducting. He had earlier directed Bach's "Brandenburg Concerto No. 5" and the cantata "Widerstehe doch der Sünde" from the harpsipiano (a piano with metal hammers to simulate a harpsichord's sound), and Gustav Mahler's Symphony No. 2 (the "Urlicht" section) in the 1960s. His last recording as a conductor was of Wagner's "Siegfried Idyll" in its original chamber-music scoring. He intended to spend his later years conducting, writing about music, and composing.


title: Glenn Gould

text: Gould is one of the most acclaimed musicians of the 20th century. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners and highly objectionable to others. Philosopher Mark Kingwell wrote, "his influence is made inescapable. No performer after him can avoid the example he sets ... Now, everyone must perform "through" him: he can be emulated or rejected, but he cannot be ignored."


title: Glenn Gould

text: One of Gould's performances of the Prelude and Fugue in C major from Book II of "The Well-Tempered Clavier" was chosen for inclusion on the NASA Voyager Golden Record by a committee headed by Carl Sagan. The record was placed on the spacecraft "Voyager 1". On 25 August 2012, the spacecraft became the first to cross the heliopause and enter the interstellar medium.


title: Glenn Gould

text: Gould is a popular subject of biography and critical analysis. Philosophers such as Kingwell and Giorgio Agamben have interpreted his life and ideas. References to Gould and his work are plentiful in poetry, fiction, and the visual arts. François Girard's Genie Award-winning 1993 film "Thirty Two Short Films About Glenn Gould" includes interviews with people who knew him, dramatizations of scenes from his life, and fanciful segments including an animation set to music. Thomas Bernhard's 1983 novel "The Loser" purports to be an extended first-person essay about Gould and his lifelong friendship with two fellow students from the Mozarteum school in Salzburg, both of whom have abandoned their careers as concert pianists due to the intimidating example of Gould's genius.


title: Glenn Gould

text: Gould left an extensive body of work beyond the keyboard. After retiring from concertising, he was increasingly interested in other media, including audio and film documentary and writing, through which he mused on aesthetics, composition, music history, and the effect of the electronic age on media consumption. (Gould grew up in Toronto at the same time that Canadian theorists Marshall McLuhan, Northrop Frye, and Harold Innis were making their mark on communications studies.) Anthologies of Gould's writing and letters have been published, and Library and Archives Canada holds a significant portion of his papers.


title: Glenn Gould

text: In 1983, Gould was posthumously inducted into the Canadian Music Hall of Fame. He was inducted into Canada's Walk of Fame in Toronto in 1998, and designated a National Historic Person in 2012. A federal plaque reflecting the designation was erected next to a sculpture of him in downtown Toronto. The Glenn Gould Studio at the Canadian Broadcasting Centre in Toronto was named after him. To commemorate what would have been Gould's 75th birthday, the Canadian Museum of Civilization held an exhibition, "Glenn Gould: The Sounds of Genius", in 2007. The multimedia exhibit was held in conjunction with Library and Archives Canada.


title: Glenn Gould

text: The Glenn Gould Foundation was established in Toronto in 1983 to honour Gould and keep alive his memory and life's work. The foundation's mission "is to extend awareness of the legacy of Glenn Gould as an extraordinary musician, communicator, and Canadian, and to advance his visionary and innovative ideas into the future", and its prime activity is the triennial awarding of the Glenn Gould Prize to "an individual who has earned international recognition as the result of a highly exceptional contribution to music and its communication, through the use of any communications technologies." The prize consists of and the responsibility of awarding the Glenn Gould Protégé Prize to a young musician of the winner's choice.


title: Glenn Gould

text: The Royal Conservatory of Music Professional School in Toronto adopted the name The Glenn Gould School in 1997 after its most famous alumnus.


title: Glenn Gould

text: Gould received many honours both during his lifetime and posthumously. In 1970, the Canadian government offered him the Companion of the Order of Canada, but he declined, believing himself too young.


title: Glenn Gould

text: The Juno Awards are presented annually by the Canadian Academy of Recording Arts and Sciences. Gould won three, accepting one in person.


title: Glenn Gould

text: The Grammys are awarded annually by the National Academy of Recording Arts and Sciences. Gould won four and, as with the Junos, accepted one in person. In 1983 he was inducted posthumously into the Grammy Hall of Fame for his 1955 recording of the "Goldberg Variations".


title: Swiss Armed Forces

text: The Swiss Armed Forces (, , , ; ) operates on land and in the air, serving as the primary armed forces of Switzerland. Under the country's militia system, regular soldiers constitute a small part of the military and the rest are conscripts or volunteers aged 19 to 34 (in some cases up to 50). Because of Switzerland's long history of neutrality, the Swiss Armed Forces do not take part in conflicts in other countries, but do participate in international peacekeeping missions. Switzerland is part of the NATO Partnership for Peace programme.


title: Swiss Armed Forces

text: The regulations of the Swiss militia system stipulate that the soldiers keep their own personal equipment, including all personally assigned weapons, at home (until 2007 this also included ammunition), or in an armoury. Compulsory military service applies to all male Swiss citizens, with women serving voluntarily. Males usually receive initial orders at the age of 18 for military conscription eligibility screening. About two-thirds of young Swiss men are found suitable for service, while alternative service exists for those found unsuitable. Annually, approximately 20,000 persons are trained in basic training for 18 weeks (23 weeks for special forces).


title: Swiss Armed Forces

text: The reform "Army XXI" replaced the previous model "Army 95" and was adopted by popular vote in 2003, reducing manpower from 400,000 to about 200,000 personnel, with 120,000 receiving periodic military training and 80,000 reservists who have completed their total military training requirements. A further reform effective in 2018 heralded the reduction of forces to 100,000 members.


title: Swiss Armed Forces

text: The land component of the Swiss Armed Forces originated from the cantonal troops of the Old Swiss Confederacy, called upon in cases of external threats by the Tagsatzung or by the canton in distress. In the federal treaty of 1815, the Tagsatzung prescribed cantonal troops to put a contingent of 2% of the population of each canton at the federation's disposition, amounting to a force of some 33,000 men. The cantonal armies were converted into the federal army ("Bundesheer") with the constitution of 1848. From this time, it was illegal for the individual cantons to declare war or to sign capitulations or peace agreements. Paragraph 13 explicitly prohibited the federation from sustaining a standing army, and the cantons were allowed a maximum standing force of 300 each (not including the "Landjäger" corps, a kind of police force). Paragraph 18 declared the "obligation" of every Swiss citizen to serve in the federal army if conscripted ("Wehrpflicht"), setting its size at 3% of the population plus a reserve of one and one half that number, amounting to a total force of some 80,000.


title: Swiss Armed Forces

text: The first complete mobilization, under the command of Hans Herzog, was triggered by the Franco-Prussian War in 1871. In 1875, the army was called in to crush a strike of workers at the Gotthard tunnel. Four workers were killed and 13 were severely wounded.


title: Swiss Armed Forces

text: Paragraph 19 of the revised constitution of 1874 extended the definition of the federal army to every able-bodied male citizen, which would have swollen the size of the army, had it not been replaced by later revisions, from under 150,000 to more than 700,000, with population growth during the 20th century rising further to some 1.5 million, the second largest armed force "per capita" after the Israel Defense Forces.


title: Swiss Armed Forces

text: Prior to the revised constitution, Jews in Switzerland were excluded from the army, with various exceptions and special conditions through the years. In 1808, the laws of mandatory military service were particularly strict for Jews, who, unlike Christians, could not opt to be replaced by a volunteer. During this time, Jews were not considered to be Swiss citizens. Following the introduction of Jewish corporations in 1813, they were given separate documentation for military enlistment. A special rule in 1816 demanded that the Jews should pay an equipment contribution of 1000 francs per year (400 francs in 1808). From 1852 onwards, Jews served in the army like other Swiss citizens, and the constitution of 1874 removed all remaining discriminatory measures.


title: Swiss Armed Forces

text: A major manoeuvre commanded in 1912 by Ulrich Wille, a reputed Germanophile, convinced visiting European heads of state, in particular Kaiser Wilhelm II, of the efficacy and determination of Swiss defences. Wille was subsequently put in command of the second complete mobilization in 1914, and Switzerland escaped invasion in the course of World War I. Wille also ordered the suppression of the 1918 general strike ("Landesstreik") with military force. Three workers were killed, and a rather larger number of soldiers died of the Spanish flu during mobilization. In 1932, the army was called to suppress an anti-fascist demonstration in Geneva. The troops shot dead 13 demonstrators, wounding another 65. This incident long damaged the army's reputation, leading to persistent calls for its abolition among left-wing politicians. In both the 1918 and the 1932 incidents, the troops deployed were consciously selected from rural regions such as the Berner Oberland, fanning the enmity between the traditionally conservative rural population and the urban working class. The third complete mobilization of the army took place during World War II under the command of Henri Guisan (see also Switzerland during the World Wars). The Patrouille des Glaciers race, created to test the abilities of soldiers, was created during the war.


title: Swiss Armed Forces

text: In the 1960s and 1970s, the armed forces were organised according to the "Armee 61" structure. Horse mounted cavalry (specifically dragoons) were retained for combat roles until 1973, and were the last non-ceremonial horse cavalry in Europe, as were bicycle infantry battalions until 2001.


title: Swiss Armed Forces

text: Since 1989, there have been several attempts to curb military activity or even abolish the armed forces altogether. A notable referendum on the subject was held on 26 November 1989 and, although defeated, did see a significant percentage of the voters in favour of such an initiative. However, a similar referendum, called for before, but held shortly after the 11 September attacks in 2001 in the US, was defeated by over 77% of voters.


title: Swiss Armed Forces

text: In 1989, the status of the army as a national icon was shaken by a popular initiative aiming at its complete dissolution (see: "Group for a Switzerland without an Army") receiving 35.6% support. This triggered a series of reforms and, in 1995, the number of troops was reduced to 400,000 ("Armee 95"). Article 58.1 of the 1999 constitution repeats that the army is "in principle" organized as a militia, implicitly allowing a small number of professional soldiers. A second initiative aimed at the army's dissolution in late 2001 received a mere 21.9% support. Nevertheless, the army was shrunk again in 2004, to 220,000 men ("Armee XXI"), including the reserves.


title: Swiss Armed Forces

text: In 2016, the Swiss Federal Assembly voted to further reduce the army from 140,000 men to 100,000 men, reducing the time of basic training from 21 weeks to 18, but also to increase the military budget by 2.4 billion Swiss francs.


title: Swiss Armed Forces

text: As of 1 March 2017, the Swiss Armed Forces consist of 120,496 people on active duty (in Switzerland called "Angehöriger der Armee", shortly "AdA", engl.: "Member of the Armed Forces"), of which 9,163 are professionals, with the rest being conscripts or volunteers. Women, for whom military service is voluntary, numbered 929: less than 1% of the total, with over 25% thereof being officers. The numbers had increased by 2021. Once in service, women have the same rights and duties as their male colleagues, and they can join all services, including combat units. Recruits in multi-lingual Switzerland are usually instructed in their native language, except that the small number of Romansh-speaking recruits are instructed in German.


title: Swiss Armed Forces

text: In contrast to most other comparable armed forces, officers are generally not career regulars. Under the most recent army reform, all soldiers complete a full recruit school of 18 weeks. During the initial 18-week training period, recruits may volunteer for consideration to continue with NCO training. After the completion of NCO training, individuals are promoted to sergeant and integrated into platoons at recruit schools as squad leaders ("Gruppenchefs", "Chefs de Groupe", "Capogruppi"). Squad leaders support their platoon commanders for the 18-week duration of the recruit school, with the exception of those who volunteer for officer school—they leave after 7 weeks of service as squad leaders—while those who volunteer for higher NCO school leave after 12 weeks of service as squad leaders. Officer candidates complete a 15-week course to prepare them for their role as platoon leaders ("Zugführer", "Chef de section", "Caposezione"), which traditionally culminates in a march covering in 24 hours. After promotion to lieutenant, platoon leaders return to their recruit schools, where they take charge of a recruit school platoon for 18 weeks.


title: Swiss Armed Forces

text: There were about 15,000 officers and 29,000 NCOs in the Swiss Armed Forces in 2021. Those of higher rank serve for longer each year; a private may serve 365 days over 30 years, while a high-ranking officer may serve 2,000 days before retiring. Each promotion requires more time, which is known as "paying your rank". This describes the mechanism of a soldier fulfilling their rank's minimal service time after being promoted into said rank. Companies subsidize military training by continuing to pay their employees, who list their ranks and responsibilities on their résumés.


title: Swiss Armed Forces

text: Switzerland has mandatory military service for all able-bodied male citizens, who are conscripted when they reach the age of majority, though women may volunteer for any position. People determined unfit for service, where fitness is defined as "satisfying physical, intellectual and psychological requirements for military service or civil protection service and being capable of accomplishing these services without harming oneself or others", are exempted from service, but pay 11 installments of a 3% additional annual income tax until the age of 37 unless they are affected by a disability. Almost 20% of all conscripts were found unfit for military or civilian service in 2008; the rate is generally higher in urban cantons such as Zurich and Geneva than in rural ones. Swiss citizens living abroad are generally exempted from conscription in peacetime. Dual citizenship does not grant exemption.


title: Swiss Armed Forces

text: On 22 September 2013, a referendum was held that aimed to abolish conscription in Switzerland. With a turnout of 47% on this particular question, over 73% voted against eliminating conscription.


title: Swiss Armed Forces

text: In peacetime, the Swiss Armed Forces are led by the Chief of the Armed Forces ("Chef der Armee"), who reports to the head of the Federal Department of Defence, Civil Protection and Sport and to the Swiss Federal Council as a whole. The current Chief of the Armed Forces is Lieutenant-General ("Korpskommandant") Thomas Süssli. Lt-Gen Süssli replaced Lieutenant-General ("Korpskommandant") Philippe Rebord on 1 January 2020.


title: Swiss Armed Forces

text: In times of crisis or war, the Federal Assembly elects a full General (OF-9) as Commander-in-Chief of the Armed Forces ("Oberbefehlshaber der Armee"). The rank is distinct and particular, as it is associated exclusively with wartime fighting or a national crisis due to war among Switzerland's neighbouring countries.


title: Swiss Armed Forces

text: Under the "Armee 61" structure, the Army was organised into Field Army Corps 1, 2, and 4, and Mountain Army Corps 3. This structure was superseded by the "Armee 95" structure and thereafter the "Armee XXI" structure.


title: Swiss Armed Forces

text: Since the Army XXI reform in 2004, the basic structure of the Army has been reorganised in the following units: infantry brigades (2 and 5); mountain infantry brigades (9 and 12); armoured brigades (1 and 11). Additionally two large reserve brigades (Infantry Brigade 7 and Mountain Brigade 10) exist. Four territorial divisions link the Army with the cantons by co-ordinating territorial tasks inside their sector and are immediately responsible for the security of their regions, depending only on the decisions of the Federal Council.


title: Swiss Armed Forces

text: The Swiss Air Force has been traditionally a militia-based service, including its pilots, with an inventory of approximately 456 aircraft whose lengthy service lives (many for more than 30 years) overlapped several eras. However, beginning with its separation from the Army in 1996, the Air Force has been downsizing; it now has a strength of approximately 270 fixed- and rotary-wing aircraft, and is moving towards a smaller, more professional force.


title: Swiss Armed Forces

text: The primary front-line air-defence fleet consists of 30 F/A-18 Hornets (34 aircraft were originally purchased, with three F/A-18D and one F/A-18C lost in crashes) organized into three squadrons (11, 17 and 18) along with 53 F-5 Tiger IIs (98 F-5E and 12 F-5F originally purchased). In October 2008, the Swiss Hornet fleet reached the 50,000 flight hours milestone.


title: Swiss Armed Forces

text: In 2017, the Swiss Hornet fleet reached the 100,000 flight hours milestone as well as 20 years of flight operations.


title: Swiss Armed Forces

text: In peacetime the Swiss Air Force does not maintain 24/7 operational readiness status, owing to the limited budget and staff available. The Swiss Air Force is now working on extending the operational times, aiming to be maintaining readiness for two armed jet fighters round-the-clock by 2020. The difficulty of defending Swiss airspace is illustrated by the mountainous character and the small size of the country; the maximum extension of Switzerland is 348 km, a distance that can be flown in a little over 20 minutes by commercial aircraft. Furthermore, Switzerland's policy of neutrality means that they are unlikely to be deployed elsewhere (except for training exercises).


title: Swiss Armed Forces

text: The Swiss military department maintains the Onyx intelligence gathering system, similar to but much smaller than the international Echelon system.


title: Swiss Armed Forces

text: The Onyx system was launched in 2000 in order to monitor both civil and military communications, such as telephone, fax or Internet traffic carried by satellite. It was completed in late 2005 and currently consists of three interception sites, all based in Switzerland. In a way similar to Echelon, Onyx uses lists of keywords to filter the intercepted content for information of interest.


title: Swiss Armed Forces

text: On 8 January 2006 the Swiss newspaper "Sonntagsblick" (Sunday edition of the "Blick" newspaper) published a secret report produced by the Swiss government using data intercepted by Onyx. The report described a fax sent by the Egyptian department of Foreign Affairs to the Egyptian Embassy in London, and described the existence of secret detention facilities (black sites) run by the CIA in Central and Eastern Europe. The Swiss government did not officially confirm the existence of the report, but started a judiciary procedure for leakage of secret documents against the newspaper on 9 January 2006.


title: Swiss Armed Forces

text: The maritime branch of the Army maintains a flotilla of military patrol boats to secure several sizeable lakes that span Switzerland's borders. These boats also serve in a search and rescue role.


title: Swiss Armed Forces

text: During the Second World War Switzerland fielded the Type 41 class of patrol boats, armed with the 24 mm Type 41 anti-tank rifle—not a personal weapon at , and later replaced by a 20mm auto-cannon—and machine guns. Nine units were commissioned between 1941 and 1944. These boats were upgraded in 1964, notably receiving radars, radios and modern armament, and were kept in service into the 1980s, the last being decommissioned in late 1983.


title: Swiss Armed Forces

text: The force utilises later the "Aquarius"-class ("Patrouillenboot" 80) riverine patrol boats, which are operated by Motorboat Company 10 of the Corps of Engineers and which patrol lakes Geneva, Lucerne, Lugano, Maggiore and Constance.


title: Swiss Armed Forces

text: In June 2019 Finnish shipbuilder Marine Alutech delivered the first four of 14 "Patrouillenboot" 16, the "Patrouillenboot" 80's successor, to the flotilla and these boats's manufacturer designation as Watercat 1250 Patrol; all ships of this class will be named for astronomical object.


title: Swiss Armed Forces

text: The prime role of the Swiss Armed Forces is homeland defence. Switzerland is not part of any multinational war-fighting structure, but selected armed forces members and units do take part in international missions.


title: Swiss Armed Forces

text: After World War II, Switzerland began building homes with 40 cm-thick concrete ceilings that might survive firebombing of the type that destroyed Hamburg and Dresden. In the 1960s they began constructing radiation and blast shelters that could survive one to three bars (100–300 kPa) of pressure from a nuclear explosion. Building codes require blast shelters, which are said to be able to accommodate 114% of the Swiss population. Small towns have large underground parking garages that can serve as sealed community shelters. There are also hospitals and command centres in such shelters, aimed at keeping the country running in case of emergencies. Every family or rental agency has to pay a replacement tax to support these shelters, or alternatively own a personal shelter in their place of residence; many private shelters serve as wine cellars and closets.


title: Swiss Armed Forces

text: Thousands of tunnels, highways, railroads, and bridges are built with tank traps and primed with demolition charges to be used against invading forces; often, the civilian engineer who designed the bridge plans the demolition as a military officer. Hidden guns are aimed to prevent enemy forces from attempting to rebuild. Permanent fortifications were established in the Alps, as bases from which to retake the fertile valleys after a potential invasion. They include underground air bases that are adjacent to normal runways; the aircraft, crew and supporting material are housed in the caverns.


title: Swiss Armed Forces

text: However, a significant part of these fortifications was dismantled between the 1980s and during the "Army 95" reformation. The most important fortifications are located at Saint-Maurice, Gotthard Pass area and Sargans. The fortification on the west side of the Rhône at Saint-Maurice has not been used by the army since the beginning of the 1990s. The east side (Savatan) is still in use.


title: Swiss Armed Forces

text: During the Cold War the military expected that any invasion would likely come from the northeast, as the Soviet Union associated the country with NATO despite its stated neutrality. The Swiss government thought that the aim of an invasion would be to control the economically important transport routes through the Swiss Alps, namely the Gotthard, the Simplon and Great St. Bernard passes, because Switzerland does not possess any significant natural resources.


title: Swiss Armed Forces

text: Operating from a neutral country, Switzerland's Armed Forces do not take part in armed conflicts in other countries. However, over the years, the Swiss Armed Forces have been part of several peacekeeping missions around the world.


title: Swiss Armed Forces

text: From 1996 to 2001, the Swiss Armed Forces were present in Bosnia and Herzegovina with headquarters in Sarajevo. Their mission, as part of the Swiss Peacekeeping Missions, was to provide logistic and medical support to the Organization for Security and Co-operation in Europe (OSCE), protection duties and humanitarian demining. The mission was named SHQSU, standing for Swiss Headquarters Support Unit to BiH. It was composed of 50 to 55 elite Swiss soldiers under contract for six to 12 months. None of the active soldiers were armed during the duration of the mission. The Swiss soldiers were recognised among the other armies present on the field by their distinctive yellow beret. The SHQSU is not the same as the more publicized Swisscoy, which is the Swiss Army Mission to Kosovo.


title: Swiss Armed Forces

text: In its first military deployment since 1815, Switzerland deployed 31 soldiers to Afghanistan in 2003, and two Swiss officers had worked with German troops. Swiss forces were withdrawn in February 2008.


title: Swiss Armed Forces

text: Switzerland is part of the Neutral Nations Supervisory Commission (NNSC), which was created to monitor the armistice between North and South Korea. Since the responsibilities of the NNSC have been much reduced over the past few years, only five people are still part of the Swiss delegation, which is located near the Korean DMZ.


title: Pink

text: Pink is the color of a namesake flower that is a pale tint of red. It was first used as a color name in the late 17th century. According to surveys in Europe and the United States, pink is the color most often associated with charm, politeness, sensitivity, tenderness, sweetness, childhood, femininity, and romance. A combination of pink and white is associated with chastity and innocence, whereas a combination of pink and black links to eroticism and seduction. In the 21st century, pink is seen as a symbol of femininity, though this has not always been true; in the 1920s, pink was seen as a color that reflected masculinity.


title: Pink

text: The color pink is named after the flowers, pinks, flowering plants in the genus "Dianthus," and derives from the frilled edge of the flowers. The verb "to pink" dates from the 14th century and means "to decorate with a perforated or punched pattern" (possibly from German "picken", "to peck").


title: Pink

text: The verb "pink" continues to be reflected today as the name of hand-held scissors that cut a zig-zagged line to prevent fraying that are referred to as pinking shears.


title: Pink

text: The color pink has been described in literature since ancient times. In the "Odyssey", written in approximately 800 BCE, Homer wrote "Then, when the child of morning, rosy-fingered dawn appeared..." Roman poets also described the color. "Roseus" is the Latin word meaning "rosy" or "pink." Lucretius used the word to describe the dawn in his epic poem "On the Nature of Things" ("De rerum natura").


title: Pink

text: Pink was not a common color in the fashion of the Middle Ages; nobles usually preferred brighter reds, such as crimson. However, it did appear in women's fashion and religious art. In the 13th and 14th centuries, in works by Cimabue and Duccio, the Christ child was sometimes portrayed dressed in pink, the color associated with the body of Christ.


title: Pink

text: In the high Renaissance painting the "Madonna of the Pinks" by Raphael, the Christ child is presenting a pink flower to the Virgin Mary. The pink was a symbol of marriage, showing a spiritual marriage between the mother and child.


title: Pink

text: During the Renaissance, pink was mainly used for the flesh color of faces and hands. The pigment commonly used for this was called light cinabrese; it was a mixture of the red earth pigment called sinopia, or Venetian red, and a white pigment called "Bianco San Genovese", or lime white. In his famous 15th century manual on painting, "Il Libro Dell'Arte", Cennino Cennini described it this way: "This pigment is made from the loveliest and lightest sinopia that is found and is mixed and mulled with St. John’s white, as it is called in Florence; and this white is made from thoroughly white and thoroughly purified lime. And when these two pigments have been thoroughly mulled together (that is, two parts cinabrese and the third white), make little loaves of them like half walnuts and leave them to dry. When you need some, take however much of it seems appropriate. And this pigment does you great credit if you use it for painting faces, hands, and nudes on walls..."


title: Pink

text: The zenith of the color pink was the 18th century, when pastel colors became very fashionable in all the courts of Europe. Pink was particularly championed by Madame de Pompadour (1721–1764), the mistress of King Louis XV of France, who wore combinations of pale blue and pink, and had a particular tint of pink made for her by the Sevres porcelain factory, created by adding nuances of blue, black and yellow.


title: Pink

text: While pink was quite evidently the color of seduction in the portraits made by George Romney of Emma, Lady Hamilton, the future mistress of Admiral Horatio Nelson, in the late 18th century, it had the completely opposite meaning in the portrait of Sarah Barrett Moulton painted by Thomas Lawrence in 1794. In this painting, it symbolized childhood, innocence and tenderness. Sarah Moulton was just eleven years of age when the picture was painted, and died the following year.


title: Pink

text: In 19th century England, pink ribbons or decorations were often worn by young boys; boys were simply considered small men, and while men in England wore red uniforms, boys wore pink. In fact the clothing for children in the 19th century was almost always white, since, before the invention of chemical dyes, clothing of any color would quickly fade when washed in boiling water. Queen Victoria was painted in 1850 with her seventh child and third son, Prince Arthur, who wore white and pink. In late nineteenth-century France, Impressionist painters working in a pastel color palette sometimes depicted women wearing the color pink, such as Edgar Degas’ image of ballet dancers or Mary Cassatt’s images of women and children.


title: Pink

text: A dress parade, held in 1949, at the famous Waldorf-Astoria Hotel in New York, caused a stir among attendees due to the vibrant pink tones in the dresses and garments. The journalists and critics of the time, seeking to know Mexican designer Ramón Valdiosera's inspiration, asked him about the origin of the color. The artist simply replied that that pink was already part of Mexican culture, which the New York fashion critic Perle Mesta then described as Mexican Pink.


title: Pink

text: The First inauguration of Dwight D. Eisenhower (1953), when Eisenhower's wife Mamie Eisenhower wore a pink dress as her inaugural gown, is thought to have been a key turning point in the association of pink as a color associated with girls. Mamie's strong liking of pink led to the public association with pink being a color that "ladylike women wear." The 1957 American musical "Funny Face" also played a role in cementing the color's association with women.


title: Pink

text: In the 20th century, pinks became bolder, brighter, and more assertive, partly because of the invention of chemical dyes that did not fade. The pioneer in the creation of the new wave of pinks was the Italian designer Elsa Schiaparelli, (1890-1973), who was aligned with the artists of the surrealist movement, including Jean Cocteau. In 1931 she created a new variety of the color, called shocking pink, made by mixing magenta with a small amount of white. She launched a perfume called Shocking, sold in a bottle in the shape of a woman's torso, said to be modelled on that of Mae West. Her fashions, co-designed with artists like Cocteau, featured the new pinks.


title: Pink

text: In Nazi Germany in the 1930s and 1940s, inmates of Nazi concentration camps who were accused of homosexuality were forced to wear a pink triangle. Because of this, the pink triangle has become a symbol of the modern gay rights movement.


title: Pink

text: The transition to pink as a sexually differentiating color for girls occurred gradually, through the selective process of the marketplace, in the 1930s and 40s. In the 1920s, some groups had described pink as a masculine color, an equivalent to red, which was considered for men but lighter for boys. But stores nonetheless found that people were increasingly choosing to buy pink for girls, and blue for boys, until this became an accepted norm in the 1940s.


title: Pink

text: In optics, the word "pink" can refer to any of the pale shades of colors between bluish red to red in hue, of medium to high lightness, and of low to moderate saturation. Although pink is generally considered a tint of red, the colors of most tints of pink are slightly bluish, and lie between red and magenta. A few variations of pink, such as salmon color, lean toward orange.


title: Pink

text: As a ray of white sunlight travels through the atmosphere, some of the colors are scattered out of the beam by air molecules and airborne particles. This is called Rayleigh scattering. Colors with a shorter wavelength, such as blue and green, scatter more strongly, and are removed from the light that finally reaches the eye. At sunrise and sunset, when the path of the sunlight through the atmosphere to the eye is longest, the blue and green components are removed almost completely, leaving the longer wavelength orange, red and pink light. The remaining pinkish sunlight can also be scattered by cloud droplets and other relatively large particles, which give the sky above the horizon a pink or reddish glow.


title: Pink

text: Raw beef is red, because the muscles of vertebrate animals, such as cows and pigs, contain a protein called myoglobin, which binds oxygen and iron atoms. When beef is cooked, the myoglobin proteins undergo oxidation, and gradually turn from red to pink to brown; that is, from rare to medium to well-done. Pork contains less myoglobin than beef and therefore is less red; when heated, it changes from pinkish-red to less pink to tan or white.


title: Pink

text: Ham, though it contains myoglobins like beef, undergoes a different transformation. Traditional hams, such as prosciutto, are made by taking the hind leg or thigh of a pig, covering it with sea salt, which removes the moisture content, and then letting it dry or cure for as long as two years. The salt (sodium nitrate) permits the ham to retain its original pink color, even when dried out. Supermarket hams are made by a different and faster process; they are brined, or infused with a salt-water solution, containing sodium nitrite, which transfers nitric oxide, which bonds with the myoglobin to form the traditional pink cured ham color.


title: Pink

text: The shells and flesh of crustaceans such as crabs, lobsters and shrimp contain a pink carotenoid pigment called astaxanthin. Their shells, naturally blue-green, turn pink or red when cooked. The flesh of the salmon also contains astaxanthin, which makes it pink. Farm-bred salmon are sometimes fed these pigments to improve their pinkness, and it is sometimes also used to enhance the color of egg yolks.


title: Pink

text: Pink is one of the most common colors of flowers; it serves to attract the insects and birds necessary for pollination and perhaps also to deter predators. The color comes from natural pigments called anthocyanins, which also provide the pink in raspberries.


title: Pink

text: In the 17th century, the word "pink" or "pinke" was also used to describe a yellowish pigment, which was mixed with blue colors to yield greenish colors. Thomas Jenner's "A Book of Drawing, Limning, Washing" (1652) categorises "Pink & blew bice" amongst the greens (p.  38), and specifies several admixtures of greenish colors made with pink—e.g. "Grasse-green is made of Pink and Bice, it is shadowed with Indigo and Pink … French-green of Pink and Indico [shadowed with] Indico" (pp. 38–40). In William Salmon's "Polygraphice" (1673), "Pink yellow" is mentioned amongst the chief yellow pigments (p. 96), and the reader is instructed to mix it with either Saffron or Ceruse for "sad" or "light" shades thereof, respectively.